tag:blogger.com,1999:blog-91939689691532741462024-03-17T07:52:55.743+01:00In The Games Of MadnessUnspeakable thoughts on horror, design and game development.Frictional Gameshttp://www.blogger.com/profile/00278352641328669040noreply@blogger.comBlogger243125tag:blogger.com,1999:blog-9193968969153274146.post-32315274764819084142019-12-20T15:00:00.000+01:002019-12-20T15:00:12.202+01:00We are moving!<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
<span style="background-color: transparent; color: black; font-family: "calibri" , sans-serif; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 400; text-decoration: none; vertical-align: baseline; white-space: pre;">The end of an era is here. For 10 long years Frictional Games has used this blog for news about the games, hiring posts, and most importantly tips on tech and design.</span></div>
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Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-9193968969153274146.post-80583410656920644242019-12-11T12:28:00.000+01:002019-12-11T13:37:33.342+01:00Frictional Fan Jam: Winter Modding Event<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVqghYM5qH80OYCFAa9NN7uD57tLYtC3qVIzdeEPOsgXQz-UxIhARA-ijDlzc-yxnDFOlBWTaksFTge-oGi1lzYb3yrEEyYaD7cstMD6x7Cn95UY5nnP1Sb6tEKZ8xtWcv48COH7fp0r1/s1600/2019+fan+jam+winter+modding.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxVqghYM5qH80OYCFAa9NN7uD57tLYtC3qVIzdeEPOsgXQz-UxIhARA-ijDlzc-yxnDFOlBWTaksFTge-oGi1lzYb3yrEEyYaD7cstMD6x7Cn95UY5nnP1Sb6tEKZ8xtWcv48COH7fp0r1/s400/2019+fan+jam+winter+modding.png" width="400" /></span></a></div>
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<span style="font-family: inherit;">Screenshot from Draugemalf's <a href="https://www.moddb.com/mods/soma-winter-asset-pack">SOMA Winter Asset Pack</a>.</span></div>
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<span style="font-size: large;"><b>Quick overview</b></span></div>
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<b>Duration: </b>11th of December until 19th January 2020</div>
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<b>Theme:</b> Winter/Hibernation</div>
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<b>Medium:</b> HPL engine modding</div>
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<b>Submission link:</b> <a href="https://docs.google.com/forms/d/e/1FAIpQLSdh9Z_uWPxMvHLnZm6LP85bLmuc0GwrSsOuxlLTQCwZbr-5FQ/viewform?usp=sf_link">Frictional Fan Jam 2019: Winter modding event submissions</a></div>
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<b><span style="font-size: large;">Info</span></b></div>
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Winter is coming for us in the Northern Hemisphere. Get a hot drink, curl up under a blanket, and start up the HPL level editor – it’s time for Frictional’s Winter Modding Jam!</div>
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Join us for a month-long event focused on HPL modding! You’re welcome to participate alone or in a small team (up to 5 people). For peer support, head on over to our Discord server.</div>
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Are you an artist, writer, or other kind of creator? You can still participate by teaming up with one of the modders. Head on over to <a href="https://discord.gg/X2nC57U">#winter_modding_jam</a> on our Discord and find your team! We will also be holding specialised events for you in the future.</div>
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<b><span style="font-size: large;">Duration</span></b></div>
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The Jam will <b>start on the 11th of December 2019 and last until the 19th of January 2020</b>.</div>
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You can submit your work on the night of Sunday the 19th, as the submissions will be checked on Monday morning.</div>
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<b><span style="font-size: large;">Theme</span></b></div>
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<b>Winter and/or Hibernation.</b></div>
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<b>One or both themes</b> should be present in the Fan Jam entry. You are welcome to interpret them however you wish. The mods don’t have to have a connection to Frictional Games titles.</div>
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<b><span style="font-size: large;">Medium</span></b></div>
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This Frictional Fan Jam is specifically for <b>HPL modding</b>. You are free to use HPL2 and HPL3, or even HPL1 if you’re brave enough.</div>
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Aside from the game assets, you are also welcome to utilise other assets you can legally use, or have permission to use from the creators.</div>
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You can for example use the <a href="https://www.moddb.com/mods/soma-winter-asset-pack">Winter Asset Pack for SOMA</a>, made by a long-time contributor and one of our Discord moderators, <a href="https://www.moddb.com/members/draugemalf">Draugemalf</a>.</div>
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<b><span style="font-size: large;">Submitting your work</span></b></div>
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Upload your mod on a platform like ModDB or Steam Workshop.</div>
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For entering the event, please submit a link to your work through the following form:</div>
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<a href="https://docs.google.com/forms/d/e/1FAIpQLSdh9Z_uWPxMvHLnZm6LP85bLmuc0GwrSsOuxlLTQCwZbr-5FQ/viewform?usp=sf_link">Frictional Fan Jam 2019: Winter modding event submissions</a></div>
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If you worked as a team, have one team member submit the entry.</div>
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All works will be showcased on the <a href="https://discord.gg/qT29KXX">#winter_modding_jam_showcase</a> on Discord.</div>
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<b><span style="font-size: large;">Prizes</span></b></div>
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The jury of Frictional Games employees will pick the winners of the jam. Discord moderator team will not be voting on entries, and are therefore allowed to fully participate in the event.</div>
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The winners will receive A5-sized posters of a game of their choosing sent to their home address (team members will be sent theirs separately). The Frictional team from the Malmö office can sign them if you wish. Once our next project is out, the winners will also receive a download key for the game on an available platform of their choosing.</div>
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Depending on the amount of entries, the Malmö office Frictional team will stream all of the entries, or only the winners.</div>
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<b><span style="font-size: large;">Contact</span></b></div>
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The Fan Jam is organised by Frictional Games’ community manager Kira, with support from the Frictional Games Discord moderators. The easiest way to contact either is through the Frictional Games Discord server’s <a href="https://discord.gg/X2nC57U">#winter_modding_jam</a> channel. The channel can also be used to share ideas with other community members, get feedback, and look for team members.</div>
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If you don’t have a Discord account, you are welcome to contact Frictional Games through Twitter or our Contact Form, and we will help you as soon as we can.</div>
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For general questions: Contact Kira, for example by pinging them on the Discord channel.</div>
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For technical questions: Join our Discord server which has an active modding community.</div>
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Have fun, we’re looking forward to your wintery creations!</div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-9193968969153274146.post-14699127147568428172019-10-15T17:12:00.000+02:002019-10-15T17:12:50.410+02:009 Years, 9 Lessons on Horror<i>By Thomas Grip</i><br />
<i>Edited by Kira</i><br />
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It has now been over 9 years since we released Amnesia: The Dark Descent. That is a bloody long time, and feels like we should celebrate that by talking about the craft of horror games.<br />
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Horror games are quite a different beast when it comes to the game industry at large. Most other genres revolve around <i>what the player does</i>. In a turn-based strategy you take turns doing strategy:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg662HTBxlYXWM0OlvmppkrjZ7-WmhQMe6eewwMNlKWDwD_sCsZRpgmkBTYk2UDd6M1PC_grbp74jtFHUZTXSd1FwkQXbZDQzLgdHnfyPgqAv29cqdaDf9cPjdvno4mh9tTWFOaFB4_T2jE/s1600/590380-screenshots-20180308011040-71e6b.webp" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg662HTBxlYXWM0OlvmppkrjZ7-WmhQMe6eewwMNlKWDwD_sCsZRpgmkBTYk2UDd6M1PC_grbp74jtFHUZTXSd1FwkQXbZDQzLgdHnfyPgqAv29cqdaDf9cPjdvno4mh9tTWFOaFB4_T2jE/s400/590380-screenshots-20180308011040-71e6b.webp" width="400" /></a></div>
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<span style="font-size: x-small;">Into the Breach</span></div>
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In a first-person shooter you shoot things from a first-person perspective:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsZPcAnD9ABV5jrG6pLwHT4YW1UofwEpggt4pKJpZKg4q1oYN5f7qSOMz_0Oc5sj-AF641T5lF2X3v2oPtR61-UyLGXK_a9sK76XzZBKlci5EoNrR6UJRMsa7UDpiMH3GaW-h9DI8p-4Po/s1600/doom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsZPcAnD9ABV5jrG6pLwHT4YW1UofwEpggt4pKJpZKg4q1oYN5f7qSOMz_0Oc5sj-AF641T5lF2X3v2oPtR61-UyLGXK_a9sK76XzZBKlci5EoNrR6UJRMsa7UDpiMH3GaW-h9DI8p-4Po/s400/doom.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">Doom</span></div>
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In a Match 3 game you match three thingies:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB_QUiH1sVyUOZupYQkEZcKVCKe3sUyYrAxLG-RSL31DhpFVY0q6mraN-GsIg4KAGcAfgLQPpglVaaZ6B8LL3AkPhDwRAVNVyZzQf_qwY0QXbOsUYkZyUn7xqLwXqF_3AWcYG1H74odHgS/s1600/soda-saga-level-60-screens.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1052" data-original-width="1600" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgB_QUiH1sVyUOZupYQkEZcKVCKe3sUyYrAxLG-RSL31DhpFVY0q6mraN-GsIg4KAGcAfgLQPpglVaaZ6B8LL3AkPhDwRAVNVyZzQf_qwY0QXbOsUYkZyUn7xqLwXqF_3AWcYG1H74odHgS/s400/soda-saga-level-60-screens.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">Candy Crush: Soda</span></div>
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In a horror game, the activity is not at all as important. What is important is that the <i>experience</i> is a spooky one. This makes designing horror games different from designing within other genres. Many times the standard industry tricks just won’t work, which makes one think about game design in a different light.<br />
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In the past 9 years we have learned a great deal about horror games, and to celebrate the occasion, I wanted to share 9 lessons we have learned over the years.<br />
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That being said, I don’t see these lessons as only useful for horror games. There’s quite a bit of overlap with other genres, especially any games that aim for a narrative-heavy experience.<br />
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And finally – this is by no means an exhaustive list. Still, the lessons here are at the core of the craft of making scary video games.<br />
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<b><span style="font-size: x-large;">Lesson 1: Horror is not enjoyable</span></b><br />
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The basic emotion of horror is not a pleasant one – yet people play horror games wanting to experience horror. This is the paradox of horror as entertainment. This paradox requires game developers to be careful in how they deliver the experience to the player.<br />
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You could draw an analogy between horror games and rollercoasters. The basic purpose of a rollercoaster is to simulate the sensation of falling. Under controlled circumstances the experience of falling is thrilling and fun (at least for a good portion of people). But if you put someone in a barrel and push them down a cliff, chances are they will not find the experience fun at all. Even if they survive unscathed, the whole ordeal would be a horrible experience.<br />
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The same is true for horror games. If you have a game that only relies on jumpscares – figuratively throwing people off a cliff in a barrel – few people will consider that fun. This became apparent in certain maps in Penumbra. We thought it would be good enough for a scary gameplay section to have a maze and some monsters. Instead of becoming mazes of fear, they instead became mostly... annoying. Amnesia: The Dark Descent had similar issues towards the end, where the monster encounters were just that, not supported by any other aspects. At that point the game no longer felt as entertaining.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdKdN3zMiXqxN1UChGwIZE4qD4aIRUszal0yHJA_L2Imtf1IcBFJDCI9CIIe2FH1UtyHW3-9pYp6lvSRfhRcEpvbmaodWzK9ozcx5mT1QcYkdZZ74vCsIsLTuzPMmp39WHzelR5AVg6Lh/s1600/2010_june_encounter_at_the_well.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrdKdN3zMiXqxN1UChGwIZE4qD4aIRUszal0yHJA_L2Imtf1IcBFJDCI9CIIe2FH1UtyHW3-9pYp6lvSRfhRcEpvbmaodWzK9ozcx5mT1QcYkdZZ74vCsIsLTuzPMmp39WHzelR5AVg6Lh/s400/2010_june_encounter_at_the_well.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">Well this is a familiar face.</span></div>
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<b><span style="font-size: x-large;">Lesson 2: Players are working against you</span></b><br />
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For a horror game developer, the worst enemy is… the players. Seriously, if we could sit around and make games without having to worry about what the players will do and think when playing the game, life would be so much simpler!<br />
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As mentioned before, being scared is not a pleasant feeling. Therefore the players will try to optimize the feeling away, often unconsciously. In the end, the players will ruin the intended experience for themselves.<br />
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Take the demon dogs from our first game, Penumbra: Overture. The game takes a bunch of time to build them up as creepy monsters that stalk the dark mines. However their AI has some weaknesses that some people are very quick to catch. Hence the dogs become easy to defeat, and are no longer scary.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEpL0qiNx2tlhjyjFi6cNPTslPr4lHQ6SSJYf533PFQsaIfzPbN0Rf-3Rcfw7x0a47ByOP7Tvknl_SwkedyqNYDcbVYkfDObY3s2xJrPpIgNj81aBcuS4ZLjTUfr-WSianyTFPm-o-fYer/s1600/2019_9lessons_dog4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="572" data-original-width="760" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEpL0qiNx2tlhjyjFi6cNPTslPr4lHQ6SSJYf533PFQsaIfzPbN0Rf-3Rcfw7x0a47ByOP7Tvknl_SwkedyqNYDcbVYkfDObY3s2xJrPpIgNj81aBcuS4ZLjTUfr-WSianyTFPm-o-fYer/s320/2019_9lessons_dog4.png" width="320" /></a></div>
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<span style="font-size: x-small;">Can't get me. I'm on a box.</span></div>
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And the crazy thing is that the players complain when this happens! They probe the system for flaws and choose to exploit them, yet want the dogs to remain scary. So their behaviour ends up going against their will.<br />
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Some games solve issues of player exploitation simply by making the enemies extremely hard (think Dark Souls): they make sure the monsters are just as hard to beat as they look scary. Another approach is to instead skip much of the gameplay (think Dear Esther): if there are no mechanics, there’s nothing for the player to exploit – problem solved, right?<br />
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I don’t think either of these solutions is optimal. Instead I think one should aim for a third route: making the players think about actions in a more narrative fashion. More about that later!<br />
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<b><span style="font-size: x-large;">Lesson 3: Scares alone won’t make a horror game</span></b><br />
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Horror is like a spice that defines a dish. You cannot do without it, but you can’t cook a dish solely out of spices either. That would be just gross.<br />
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As an example, let’s take three horror movies I consider to be at the top of their genre: Alien, The Exorcist and Ringu. All three movies deal with very different subjects, have different styles, and are overall different from one another. But there is one thing they have in common: they all have very few scares in them!<br />
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Instead each movie is mostly about the characters, the discussions, the anticipation of the horror – building up the atmosphere and the dread of things to come. Very little time is spent actually facing the horror.<br />
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Let’s get back to our roller coaster analogy. When you think about it, the actual roller coaster ride lasts a very short time. Most of the time is spent doing things like buying a ticket, standing in line, and hearing other people scream. All these actions are not superfluous extras – they build up for the actual ride, and are crucial to the overall experience.<br />
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When we first made the study section of Amnesia: The Dark Descent, we implemented a ton of jumpscares. Books fell down from shelves, doors banged, pianos started playing and so forth. But as the map became more complete, it felt like something was off. So we reduces the scares to just a couple, and instead focused on letting the player learn the castle’s mysteries. At first we were afraid this would make the level too boring – but as it turns out, spacing the scares apart made players much more scared than previously.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvma_ImKM5KkFvKK0-3PNXBsgXRvGMGk8uuxHN99s7SEEs_5cDSq43PoUbJkdNlU0O2h8wyFvHUgej7uxkXSco1c8Oft-4QFXvSrenXlzXuMZ3yVLcA6Y4JAVcwqLC2qREHQqr0rYnKma_/s1600/tdd_library.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvma_ImKM5KkFvKK0-3PNXBsgXRvGMGk8uuxHN99s7SEEs_5cDSq43PoUbJkdNlU0O2h8wyFvHUgej7uxkXSco1c8Oft-4QFXvSrenXlzXuMZ3yVLcA6Y4JAVcwqLC2qREHQqr0rYnKma_/s400/tdd_library.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">In horror, less is often more.</span></div>
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<b><span style="font-size: x-large;">Lesson 4: Fun gameplay is just too… fun</span></b><br />
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In a horror game more than any other, the players go in expecting to have a bad time. And as designers we want them to feel anxiety, despair, and a whole array of negative emotions. But gameplay – because it’s so damn engaging – tends to counteract all these juicy emotions.<br />
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Let’s use Dead Space as an example. When I started playing it, I was really scared, walking around slowly and peeking around every corner. Then, about an hour in, I learned how to kill the monsters, and what tricks I needed to survive.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixG3FP092KUwdupBaa25wS1lmW0RFGluR20AwdhDqKPwA5gQJc11PVtQ2TW6EHSu0etbWw9vlfTVRQMjtoWrLCCxmzdNgPAHyHWdJtftXN4hiBn_rdv9kP37VDC2sQ2okp5NINl7HCFl5U/s1600/2019_9lessons_deadspace.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="613" data-original-width="1205" height="202" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixG3FP092KUwdupBaa25wS1lmW0RFGluR20AwdhDqKPwA5gQJc11PVtQ2TW6EHSu0etbWw9vlfTVRQMjtoWrLCCxmzdNgPAHyHWdJtftXN4hiBn_rdv9kP37VDC2sQ2okp5NINl7HCFl5U/s400/2019_9lessons_deadspace.png" width="400" /></a></div>
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<span style="font-size: x-small;">Dead Space 2 promo art</span></div>
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<span style="font-size: x-small;">All of the fun, none of the horror!</span></div>
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Not only did I get good at killing the monsters, I thought it was great fun! The things that used to terrify me now became a source of amusement. Instead of dreading the monster sounds they now made me excited – oh great, another necromorph to dismember!<br />
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So where did the fear go? It was simply overshadowed by the rewarding gameplay.<br />
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Us humans tend to have this thing called attention, and we only have a limited amount of it. If the game is constantly engaging the player with thinking about their aim, checking ammo, and looking for loot, there’s no room left for much else. In other words, the players’ brain will lack resources to frighten themselves.<br />
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The early designs of Amnesia: The Dark Descent included genre-typical weapons, and even guns. We also experimented with very elaborate puzzle set-ups, everything from swinging chandeliers to redirecting rays of light. All these caused the same issues as Dead Space. They were too fun, and took attention away from what mattered: getting scared.<br />
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Eventually we decided to reduce the “fun” elements the gameplay had – and it paid off.<br />
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We saw this very clearly when watching Let’s Plays of the Amnesia games. Since players didn’t have things like combat to pay attention to, they reacted to things they might not have even noticed in other games. A vague sound, almost like a footstep, was suddenly a reason to look for the nearest cupboard to hide in. Had the players minds been filled with thoughts of loot boxes, they would have never reacted like this.<br />
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<b><span style="font-size: x-large;">Lesson 5: Narrative is a core element in good horror</span></b><br />
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So if engaging gameplay can be counteractive to the horror, and you need to be careful with the scares, what do you fill a horror game with?<br />
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While no silver bullet, narrative is a big part of the equation.<br />
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By building up a narrative, us game designers can make game worlds bigger and more intricate than they actually are in-game. We can prime the player into doing a lot of the scaring for themselves.<br />
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In order to explain this, let’s take a random image let’s take a random image of a quaint town:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHIMxHDJDZDNTatCqKiPN6AuvDQEjvN2nt-xwTKZLVMp0nFiFmpz8yaokfxMvBVRYAOFAFdcNVREd6ubuzZONgC5HeCx-UcLKf8bJkM-DImSAD60eArcZREaQLF_9gx_lsME4CJPwHGoaS/s1600/2019_9lessons_village.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="785" data-original-width="1595" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHIMxHDJDZDNTatCqKiPN6AuvDQEjvN2nt-xwTKZLVMp0nFiFmpz8yaokfxMvBVRYAOFAFdcNVREd6ubuzZONgC5HeCx-UcLKf8bJkM-DImSAD60eArcZREaQLF_9gx_lsME4CJPwHGoaS/s400/2019_9lessons_village.png" width="400" /></a></div>
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<span style="font-size: x-small;">Aww, I wanna go there. :)</span></div>
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This feels like a great place for an evening stroll, right?<br />
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Now let’s give this image some backstory. Put on some spooky music, like the <a href="https://open.spotify.com/album/4XlJVuEJEpBrDs2xD19Z7M?si=tPe6ajp1Smy8B4OVXAwmww">Amnesia soundtrack</a>, and read the following:<br />
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<blockquote class="tr_bq">
<i>It has been two weeks since a huge storm cut the town from the rest of the world. All means of communication are down.</i></blockquote>
<blockquote class="tr_bq">
<i>Today, our emergency services received a call – it just started out as static, a joke that kids would play, but then the screaming started. The screaming of people, then an otherworldly roar, nothing a man nor beast on Earth could make. I had to find out what happened to these people up the serpentine road from us. </i></blockquote>
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<i>I am now here, yet no one else seems to be. It’s like everyone vanished. But as the cold sun sets down over the mountain, I get a sense of unease…</i></blockquote>
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...And now look at the picture again.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTJKt9FyMqPgT6Gg8Tpp_oUjhX-1DnfA4TEXP1-zGkQzoidbzc0Zclgj5MQ1fjBrwgtjISD7T2wHpXPMRndTihL9FS_ZDti57w0VC3cEe39nIsDUjyS9hX6IAhtPEUFLi-w7BjKkG7_YyT/s1600/2019_9lessons_village.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="785" data-original-width="1595" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTJKt9FyMqPgT6Gg8Tpp_oUjhX-1DnfA4TEXP1-zGkQzoidbzc0Zclgj5MQ1fjBrwgtjISD7T2wHpXPMRndTihL9FS_ZDti57w0VC3cEe39nIsDUjyS9hX6IAhtPEUFLi-w7BjKkG7_YyT/s400/2019_9lessons_village.png" width="400" /></a></div>
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<span style="font-size: x-small;">The worst monster of all is leaving the lights you've been murdered horribly.</span></div>
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Not so cozy anymore, right?<br />
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A new context leads to re-interpreting the environment based on this information, and get into a different mindset based on it. While you previously admired the view, you are now scanning it for signs of danger.<br />
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A big part of horror takes place inside a player’s head. And by fueling their imagination, we can turn a cozy village into a place of terror and despair.<br />
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Looking back on which areas worked in Penumbra, this component became apparent. The most loved environments were those where players could use lore and environmental clues to fantasize what happened… and what could happen. The expansion, Penumbra: Requiem, lacked a lot of this background information. So despite us designing some of our best puzzles and implementing interesting visuals, Requiem was received quite badly. Without a strong narrative component, the players didn’t get the experience they wanted.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixam8EXHZChKlTN5TEIleXzY6mFFdm8MRIVKkBir2g0EIw41p5ach4kxB55lVTw7HqF9hOQ72WoYjDGUDlhdPky2PGwBCoHiOCTvEtfmZEN68rSDZZx5Z1pl54FVm4t2agvH3YLQaGjFct/s1600/screen1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1280" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixam8EXHZChKlTN5TEIleXzY6mFFdm8MRIVKkBir2g0EIw41p5ach4kxB55lVTw7HqF9hOQ72WoYjDGUDlhdPky2PGwBCoHiOCTvEtfmZEN68rSDZZx5Z1pl54FVm4t2agvH3YLQaGjFct/s320/screen1.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">Penumbra: Requiem, or as we call it, The <a href="https://frictionalgames.blogspot.com/2013/12/people-of-frictional-marc-nicander.html">Marc</a> Game.</span></div>
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<b><span style="font-size: x-large;">Lesson 6: The world must feel real</span></b><br />
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In order for a horror narrative to have proper impact, the world it takes place in must be taken seriously by the players. But what does “serious” mean? Grey and brown tones with no cartoonish elements? Not quite.<br />
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Let’s draw a parallel between real and imagined worlds. If you suffer from nightmares, there’s a trick to that: make a habit out of knocking on walls, tables, or whatever is closest to you. Eventually you will start doing the same when you’re asleep. However, when you knock on walls or a table in a dream, your hand is likely to go through the surface – that’s how you’ll know you are in a dream, and no longer need to be afraid of the world around you.<br />
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Making horror games is basically a business of creating nightmares. But it’s hard to be successful when you have a bunch of players (those damn players again!) constantly doing the equivalent of “knocking on surfaces”, simply by playing the game. As soon as they discover some sort of glitch the immersion of a terrifying world breaks, and it takes a long time to build it back up again.<br />
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Let’s look at an example from Penumbra again. In Penumbra we want the players to imagine that the demon dogs are “real”, implying all the traits (demon) dogs possess. So, we want players to be worried about encountering a dog, and hiding from it. However, some players “knocked on surfaces” by messing around with the environments, and figured out that the dogs can’t reach you if you camp on top of a box. So, whereas a real dog could jump up on the box and chomp the player up, the AI dog cannot. Therefore the fantasy of dogs as “real” is lost, and the game loses a bunch of its scariness.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVtuNdnW9XWM7Z_zcaG58Imjd6wbaxh1VbW9npxLBkGf5CBSHXvcNe8b6_DfcO-Uv8K8KS8aKtGcOhV04BBxVFwby3Wiqnb9KZlvQf_oVO4L8rjKR-idMw1Nh81PdjMChGny912KPV7BCY/s1600/2019_9lessons_Penumbra+by+IsisMasshiro.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="763" data-original-width="1096" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVtuNdnW9XWM7Z_zcaG58Imjd6wbaxh1VbW9npxLBkGf5CBSHXvcNe8b6_DfcO-Uv8K8KS8aKtGcOhV04BBxVFwby3Wiqnb9KZlvQf_oVO4L8rjKR-idMw1Nh81PdjMChGny912KPV7BCY/s400/2019_9lessons_Penumbra+by+IsisMasshiro.png" width="400" /></a></div>
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<a href="https://www.deviantart.com/isismasshiro/art/Penumbra-Overture-140278969"><span style="font-size: x-small;">Penumbra: Overture by IsisMasshiro on DeviantArt</span></a></div>
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<span style="font-size: x-small;">The<i> intended</i> reaction when encountering a demon dog</span></div>
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Because of this effect, game developers have to be careful about how they construct environments, and what tools they give to the player. There should be enough things to do to make the place feel real. But not so many as to aid players in breaking the illusion.<br />
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<span style="font-size: x-large;"><b>Lesson 7: Keep it vague</b></span><br />
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You know creepypasta and scary photos you can find on the internet? Almost always the thing that makes them scary is that they leave a lot to the imagination. Seeing a silhouette and glowing eyes out in the corner of a photo feels threatening. A close-up glamour photo of the same monster does not.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3C9io0nO_GVQxmUj5ha_P72zXHKIAgCeT_T3iWAgbp3HSU_tNWiiOf5p9sUg0waSx47NLpQejVWyIWkLVZt6sYbkB5SoXnVdgTsHxlnGNroZmboAlUyGchwUOLzIWfcdHtJyUmymK26jU/s1600/2019_9lessons_shadow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3C9io0nO_GVQxmUj5ha_P72zXHKIAgCeT_T3iWAgbp3HSU_tNWiiOf5p9sUg0waSx47NLpQejVWyIWkLVZt6sYbkB5SoXnVdgTsHxlnGNroZmboAlUyGchwUOLzIWfcdHtJyUmymK26jU/s320/2019_9lessons_shadow.jpg" width="320" /></a></div>
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<span style="font-size: x-small;">AAH! What IS that?</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOJ-5zgihtEtYOXSbTEDgYiaSW-qmTzO8SYk6kgYPJcGgCa2E7F23CO8-3bz3Vs89gYDjmJDNsjuFMbu3boEQxwjkUioyZ9-XP09USZD2pj3MN3oLil6ktPC4FC1C9dEnvr7Q6y5F-T35E/s1600/2019_9lessons_shadow2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="433" data-original-width="427" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOJ-5zgihtEtYOXSbTEDgYiaSW-qmTzO8SYk6kgYPJcGgCa2E7F23CO8-3bz3Vs89gYDjmJDNsjuFMbu3boEQxwjkUioyZ9-XP09USZD2pj3MN3oLil6ktPC4FC1C9dEnvr7Q6y5F-T35E/s320/2019_9lessons_shadow2.jpg" width="315" /></a></div>
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<span style="font-size: x-small;">Oh, just our good friend Terry bringing us a gift. (by ThiccBoiMyers on Discord)</span></div>
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As mentioned before, much of the horror comes from simply not being sure what the hell you’re looking at. It’s when there is a gap in our knowledge, a certain amount of uncertainty, that horror can really shine. This is especially true when you combine it with some sort of danger element.<br />
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It is quite common in games to make sure the player understands the systems in place as clearly as possible. This often results in some really daunting tutorials. Of course for some games, like fighting games, it’s important to have in-depth knowledge about the systems to be able to optimise the game. In horror games we actually want the opposite!<br />
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A vague and uncertain game system is like a creepy photo. You can make out enough to get an idea of what’s going on, but there’s still room for the imagination to go wild. Let’s use the health meter in Resident Evil as an example. Internally it is an analog property, a decimal number from 0 to some value, but the player will only ever know that it has “three” states. This strikes a great balance between giving information and being vague, and helps crank up the tension.<br />
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The sanity system in Amnesia: The Dark Descent is similarly vague. You know scary things – whatever those are – lower your sanity, and bad things – whatever those are – will happen if it drops too low, so you don’t want to risk it.<br />
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This was not always the case. We started out with a pretty straightforward gameplay system, hoping players would play along with it. However, people either game it or got frustrated by it. When we tweaked it so it was much less clear how it worked, it sparked player’s imaginations and it was much more enjoyable.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx1ZcOlrJdgdxNsZUUviPKSAiOGqiwJvAYmtzvAoMM677WRYmI0M_FlCloDwlc-texiUdon6FoY2uKcJOlX1oSuw_SffDzwkBqxH6-YQiEP_gJSl6edNoEV7-xkIUmBun-ZqA_6owni2dP/s1600/yPu80.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="1280" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx1ZcOlrJdgdxNsZUUviPKSAiOGqiwJvAYmtzvAoMM677WRYmI0M_FlCloDwlc-texiUdon6FoY2uKcJOlX1oSuw_SffDzwkBqxH6-YQiEP_gJSl6edNoEV7-xkIUmBun-ZqA_6owni2dP/s400/yPu80.jpg" width="400" /></a></div>
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<span style="font-size: x-small;">Alex isn't looking so good.</span></div>
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<b><span style="font-size: x-large;">Lesson 8: Players need a role</span></b><br />
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All stories are driven by the characters that are contained within it, and how a plot plays out is determined by the characteristics of these characters. Just imagine how different Jurassic Park would be if the annoying lawyer guy was replaced by Judge Dredd! So, in order to get the most of any narrative, it is crucial to establish roles.<br />
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Games are no different. The role that a player inhabits will determine what actions they have at their disposal, what their goals ore, and so forth. Knowing the character is a vital component in order for the player to be an active part of the story.<br />
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Yet this is one of those components that many horror games forget. You are often thrust into a story as some generic character. Often the thought behind this is that the player would “play as themselves”, but this is not how any narrative really works. In order to properly parse a story situation, you need to understand what kind of person is dealing with it.<br />
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Say that you come across a corpse. You are playing as Sherlock Holmes, a corpse means a case! You will want to search for clues and try to solve the mystery of how this person died.<br />
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Now imagine you’re playing as a flesh-eating ghoul. Now the same corpse is suddenly dinner - yum!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3m3dMYa38fDS9xX05uisIwYkavC37Pt-oh0KhyphenhyphenIZ4mXNl9svzM7cgRXdY_qIfLO59J1GS3I7iOaPpjv7iA9Q-QrmsSnmK0ULWWsr73h_UPVyg_6qFaybSAdXXrVDfCvyTTooytLcRTtGO/s1600/2019_9lessons_corpsepile.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="473" data-original-width="833" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3m3dMYa38fDS9xX05uisIwYkavC37Pt-oh0KhyphenhyphenIZ4mXNl9svzM7cgRXdY_qIfLO59J1GS3I7iOaPpjv7iA9Q-QrmsSnmK0ULWWsr73h_UPVyg_6qFaybSAdXXrVDfCvyTTooytLcRTtGO/s400/2019_9lessons_corpsepile.png" width="400" /></a></div>
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<span style="font-size: x-small;">An alternate universe where Daniel is turned into a ghoul. Bon appetit!</span></div>
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In most areas, horror games are well beyond your average game in terms of narrative. But for some reason, a large portion of horror games just fail to set the player role properly. It’s strange, relying on a narrative backbone, yet losing so much of the atmosphere by not defining the player role.<br />
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Another big reason for defining roles is that it can help with some of the issues addressed earlier. For instance, it can limit the number of actions the player feels is rational to take. For example Penumbra’s protagonist Philip is a physics teacher, so while he could perhaps fight some demon dogs, it would be more logical to run and hide from aggressive humanoids.<br />
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This lesson we clearly learned in SOMA. At first we thought about having a non-speaking Simon with very little character. However, this made player distance themselves from the events. Things got a lot more personal when they played as a character who was reacting to what was happening. While players previously wouldn’t ponder the strange events in-depth, Simon pushing them in the right direction it worked much better.<br />
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<b><span style="font-size: x-large;">Lesson 9: Agency is crucial</span></b><br />
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When I talk about agency, I’m not talking about the CIA. What I mean is agency of the free will kind. A game that has a lot of agency lets the players make decisions and feel like an active part of the narrative.<br />
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This is closely tied to the previous lesson. Not only do we want to give players a role, we also want them to own that role. They need to feel like they really inhabit the character they are supposed to play. A game can achieve a lot by combining agency with keeping things vague – and letting players decide to take uncertain decisions.<br />
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Say that you are faced with a dark tunnel – dark tunnels are pretty scary!<br />
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Now imagine that the game explicitly tells you that your goal lies beyond the tunnel. There’s no choice, you gotta go in. And if the game forces you do something, it will also make sure you do actually have the means to complete this quest – in this case get to the other side of the tunnel.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkyvoQfMPmJwlko-lb5gJPbc3icjCW-fDHcLZsIZ2Bns5utYFuzHDKfe1OTSRRRBj9jHlTptDOB_Wj39OqsoOfka-tUIGBycuiHbflwYjijBYBmbHbQpcVPFngt6xXmGSosL9OG3fkh2zI/s1600/2019_9lessons_goal.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="598" data-original-width="803" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkyvoQfMPmJwlko-lb5gJPbc3icjCW-fDHcLZsIZ2Bns5utYFuzHDKfe1OTSRRRBj9jHlTptDOB_Wj39OqsoOfka-tUIGBycuiHbflwYjijBYBmbHbQpcVPFngt6xXmGSosL9OG3fkh2zI/s400/2019_9lessons_goal.png" width="400" /></a></div>
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<span style="font-size: x-small;">What's the worst that could happen? :)</span></div>
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But what if entering this dark tunnel was voluntary, or at least presented as such? The game vaguely tells you that there might be something important there – but you don’t know, and might also be a certain death. All of a sudden the tunnel feels a lot less safe. By adding agency and making entering the tunnel an uncertain choice, all sorts of doubts pop up in the player’s mind.<br />
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There’s also a number of other ways to add agency. Say the player needs to do something unnerving, like Amnesia’s Daniel drilling into a corpse to get blood out. In the game it is clear that there is no other option. Overall reactions to this was not very strong.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiXI6lPKrQ6ZHQns9hiLzsFRS1LzvTgStF5G_XXXWkX2lU_PAUs0dUDzMIcuARaQ0uMDyKKzMccTzaQQo5_0Sb8fvLpX24UAGrF6aB_2-QkI0HoGwYlJQdkeb9m3Sx2cKK38jnRsp9rD8L/s1600/2019_9lessons_corpse.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="361" data-original-width="597" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiXI6lPKrQ6ZHQns9hiLzsFRS1LzvTgStF5G_XXXWkX2lU_PAUs0dUDzMIcuARaQ0uMDyKKzMccTzaQQo5_0Sb8fvLpX24UAGrF6aB_2-QkI0HoGwYlJQdkeb9m3Sx2cKK38jnRsp9rD8L/s400/2019_9lessons_corpse.png" width="400" /></a></div>
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<span style="font-size: x-small;">Just petting a guy's head while the drill drills a hole in it.</span></div>
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Compare this to similar moments in SOMA, where intended course of action is much less clear. Here players are forced to actually think through what they need to do, and get emotionally involved in the process of it.<br />
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While SOMA did do this part better, it also had its shortcomings. In Amnesia: The Dark Descent, the game was divided into hub maps, so there was no one path or right order to do things. These choices increased anxiety. Whereas maps in SOMA were way more streamlined, and we noticed a considerable drop in scariness due to this.<br />
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<b><span style="font-size: x-large;">In closing</span></b><br />
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And them’s the rules! As said before, these are not the only ones, but I believe these come out on top when listing the most important ones. You could also go into them with a lot more depth, but I wanted to keep this blog concise. A lot of my previous blogs in the design tag dive deeper into related subjects.<br />
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Finally, I want to close by saying that, because of all these special requirements for horror games, I don’t think you can approach them like other games. Instead of “finding the fun” and iteratively building upon that, horror game design needs to start with some strong principles.<br />
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When designing a horror game, you want to hone into what you’ve chosen as your core principles, be it atmosphere, theme, or something else. Then, as you progress in development, you don’t want to evaluate the game on how “fun” or “nice” it is to play – but in how well it fulfills its set core principles. And a cornerstone for being able to do that evaluation is to keep the above lessons in mind.<br />
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This in itself is a huge topic of its own, and will need to be dealt with in some future post. Stay tuned for more!<br />
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Unknownnoreply@blogger.com76tag:blogger.com,1999:blog-9193968969153274146.post-29374980460248398862019-10-04T18:16:00.000+02:002019-10-04T18:16:00.587+02:00Winner Showcase of Frictional Fan Jam 2019The autumn is getting cold, but our hearts have been warmed by the participation in the <a href="https://frictionalgames.blogspot.com/2019/09/frictional-fan-jam-2019.html">Frictional Fan Jam 2019</a>! We would like to extend an equally warm "thank you" to everyone who participated. The outpour of love and creativity has been overwhelming!<br />
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We have now gone through the entries, voted among the Frictional Games staff and the Discord Moderator team, and picked the winners - as well as a few special mentions! The entries were divided into Mods/Games, Fanart, Fanfiction, and Other, and one or more winners were picked of each category.<br />
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As promised, the winners will receive a few physical goodies, a mention in our video, as well as keys for the upcoming game. People who got special mentions will receive keys! We will be in contact with these people next week.<br />
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This is enough bureaucratic talk: please behold our winners! The winners of each category will be showcased in the video below, or you can read about the entries under the video. All entries can be seen on our the <a href="https://discord.gg/wT2A26">Fan Jam Showcase on our Discord server</a>.<br />
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<b><span style="font-size: x-large;">Mods/Games</span></b></div>
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<span style="font-size: large;"><b>SOMA: The Fall of Freedom</b></span></div>
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<span style="font-size: large;"><b>by Rubyes</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj38KsF_VqOmwl6n8I6I9zDdvpEgKqZsIYLpGdglQNN_P2wyD4dSetk6ZnZzLQGTCtHqiuM6uVW1CXfhC81eu9dzcJ-zwLELK2E1_6lVvrD4ceNIlV7jJVtXgGlXG1B4QJaTzpwv7FbhC-T/s1600/unknown.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="578" data-original-width="1026" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj38KsF_VqOmwl6n8I6I9zDdvpEgKqZsIYLpGdglQNN_P2wyD4dSetk6ZnZzLQGTCtHqiuM6uVW1CXfhC81eu9dzcJ-zwLELK2E1_6lVvrD4ceNIlV7jJVtXgGlXG1B4QJaTzpwv7FbhC-T/s320/unknown.png" width="320" /></a></div>
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<a href="https://mega.nz/#!PxV0kC6T!fT5wddW9SpCxcO-7_LCIDEotM0vCBg8mzUSyNixSjUc">The Fall of Freedom on mega.nz</a></div>
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The Fall of Freedom takes us on one Pathos-II employee's journey through the now-infested station. Unlike the mods, this game is made in Unity and uses a minimalist yet efficient pixel style. It's short and (bitter)sweet, with Frictional-type puzzles translated into a 2D environment, and great sound design.<br />
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<b><span style="font-size: large;">Hollow</span></b></div>
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<b><span style="font-size: large;">by TiMan</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi51FWOxXHHzqKYBQAMPPmdSjTi4SLr6I_qjkGVZQc4D71iYzwv2-6Ic_h2y_9d2dwmnQpJOOvITtdkYk_vLwwC39rLjesZQ1CDKpgyTV0LIpE1mAp2e7IJv331ZwcB2LV7bSgCStMEMhIs/s1600/banner.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="578" data-original-width="1026" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi51FWOxXHHzqKYBQAMPPmdSjTi4SLr6I_qjkGVZQc4D71iYzwv2-6Ic_h2y_9d2dwmnQpJOOvITtdkYk_vLwwC39rLjesZQ1CDKpgyTV0LIpE1mAp2e7IJv331ZwcB2LV7bSgCStMEMhIs/s320/banner.png" width="320" /></a></div>
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<a href="https://steamcommunity.com/sharedfiles/filedetails/?id=1868936427">Hollow on Steam Workshop</a></div>
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Ever wondered how Alexander ended up on Earth? TiMan's Hollow imagines Alexander's story on his home planet, and how his banishment came to be. It has a distinct Amnesia feel despite being made on HPL3, the SOMA engine, and the custom assets make it fun to explore. The puzzles and gameplay have a classic Frictional feel, making it easy to play as a standalone installment.<br />
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<b><span style="font-size: large;">Special mention:</span></b><br />
<b><span style="font-size: large;">Amnesia: Decayed History</span></b></div>
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<b><span style="font-size: large;">by Sabatu</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLe9ttHYUNPejRKmMUP4M-Ysa_q0EOSPA_bJqlVydc0O5rFnI60U0t3D2Ox2q17KZMmLeNaJIdkmcXus-VHFlO_H2QnmKgDtzqp8u7j2bgQUwJURVg3mPClP66FWH48piX0ZhPAELelHbx/s1600/icona.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="577" data-original-width="769" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLe9ttHYUNPejRKmMUP4M-Ysa_q0EOSPA_bJqlVydc0O5rFnI60U0t3D2Ox2q17KZMmLeNaJIdkmcXus-VHFlO_H2QnmKgDtzqp8u7j2bgQUwJURVg3mPClP66FWH48piX0ZhPAELelHbx/s320/icona.png" width="320" /></a></div>
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<a href="https://www.moddb.com/mods/amnesia-decayed-history">Amnesia: Decayed history on ModDB</a></div>
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Sabatu's Decayed History mod did not fit the requirements of expanding upon one of Frictional's titles, yet we felt that it deserves a special mention. The HPL2 mod is an impressive length considering it was made in three short weeks, and the writing is great despite Sabatu only having studied English for about a year. The protagonist is given a task to find old documents in their childhood home, claiming their right to the house. But things are not quite as they seem...<br />
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<span style="font-size: x-large;"><b>Art</b></span></div>
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<b><span style="font-size: large;">Castle Brennenburg</span></b></div>
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<b><span style="font-size: large;">by Kripi</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCt1scZWzWuNqoldq0UQLvqYYXS_17zCL-d3rWOeIIDK-r5vRmRR3cbI7MiNLkpuSqpj7uqzxefnYkeFXyu9JjYQ5P1wGTPhusq_p0UbO5waJAx2AQ28RtywKISkvZ2C_QNTheNUei2Rf0/s1600/EE_StCCW4AUzttS.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1139" data-original-width="1600" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCt1scZWzWuNqoldq0UQLvqYYXS_17zCL-d3rWOeIIDK-r5vRmRR3cbI7MiNLkpuSqpj7uqzxefnYkeFXyu9JjYQ5P1wGTPhusq_p0UbO5waJAx2AQ28RtywKISkvZ2C_QNTheNUei2Rf0/s320/EE_StCCW4AUzttS.jpg" width="320" /></a></div>
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<a href="https://twitter.com/fancreeper/status/1175389710648324096">Castle Brennenburg on Twitter</a></div>
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Kripi's cutoff of Castle Brennenburg might as well be a professional technical drawing! The longer you look at it, the more details you see, making it an ideal doll house for tiny Daniel, Alexander, and the rest of the residents.<br />
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<b><span style="font-size: large;">Some things mustn't be forgotten...</span></b></div>
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<b><span style="font-size: large;">by Lou</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUvDIngmGQUk96K1z2ob1thGgFY4nAu4BLOJM6jXyANQmoY4FiDvknapQy1pC7pg9lGIO6qUG62iwFhyphenhyphenu0q2-em0zLt4Xjg-S8_GVnoUHa4sSSyyFViDObC8qJQsD6AaNc3LEU2fww_1b/s1600/EFBvzAvW4AAxLsT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1422" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUvDIngmGQUk96K1z2ob1thGgFY4nAu4BLOJM6jXyANQmoY4FiDvknapQy1pC7pg9lGIO6qUG62iwFhyphenhyphenu0q2-em0zLt4Xjg-S8_GVnoUHa4sSSyyFViDObC8qJQsD6AaNc3LEU2fww_1b/s320/EFBvzAvW4AAxLsT.jpg" width="270" /></a></div>
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<a href="https://twitter.com/hi__host/status/1175562440475643910">Some things mustn't be forgotten on Twitter</a></div>
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Some things mustn't be forgotten... and this artwork is one of them! Lou's piece reveals more than you see at first glance - the falling leaves are petals of the Damascus Rose, akin the drops of blood, and a spider looms in the background, tying the characters together.<br />
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<b><span style="font-size: large;">As the autumn leaves wither away...</span></b></div>
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<b><span style="font-size: large;">by cypii</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq52AjWs0f_E-l93RAy-JoYVmZRZTkbuX7yxlsxAFd3SPm_5NM3vj_SV1egkmle25UpaRZIWpANqHm8Do9XbyKnGXtwoVPtT_pFmvLFH1rwrOyP7Gtvj6uoTFaP14lFTrCFnIV1JUNRqq0/s1600/tumblr_py1ma2BW4F1vvdkb7o2_r2_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1310" data-original-width="908" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq52AjWs0f_E-l93RAy-JoYVmZRZTkbuX7yxlsxAFd3SPm_5NM3vj_SV1egkmle25UpaRZIWpANqHm8Do9XbyKnGXtwoVPtT_pFmvLFH1rwrOyP7Gtvj6uoTFaP14lFTrCFnIV1JUNRqq0/s320/tumblr_py1ma2BW4F1vvdkb7o2_r2_1280.jpg" width="221" /></a></div>
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<a href="https://cypjj.tumblr.com/post/187804554843/as-the-autumn-leaves-wither-away-so-shall-my-body">As the autumn leaves wither away... on Tumblr</a></div>
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Hazel, Daniel's sister, has a melancholy story told in the notes of The Dark Descent, and Cypii has captured this mood with lonely composition and muted tones. You don't need to see Hazel's face to know that she is withering away, just as the leaves outside.<br />
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<b><span style="font-size: large;">Special mention:</span></b><br />
<b><span style="font-size: large;">SOMAuse</span></b></div>
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<b><span style="font-size: large;">by i3670</span></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi20vca5xfkQExo5rM1AE4Ofm5Pxhoo2Dp-2S3AqDPNWh5KICnDkKnzA0ceUySScmBdeAiCXAHIJtye8pmjK-53rLGwxzfYHFvG_-1z3CuYPtwnPweuyzjPs-1pWOFb4JW7JtK7s3abQrch/s1600/SOMAuse.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="610" data-original-width="606" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi20vca5xfkQExo5rM1AE4Ofm5Pxhoo2Dp-2S3AqDPNWh5KICnDkKnzA0ceUySScmBdeAiCXAHIJtye8pmjK-53rLGwxzfYHFvG_-1z3CuYPtwnPweuyzjPs-1pWOFb4JW7JtK7s3abQrch/s320/SOMAuse.jpg" width="317" /></a></div>
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I (Kira, your community manager) almost drove my bike into a traffic sign because I got teary-eyed from thinking about this picture. The little mouse in the reflection still has hope in its eyes... and thankfully we don't see the expression on the other side. Dammit, I'm crying again. And that deserves a special mention.<br />
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<span style="font-size: x-large;"><b><b>Writing</b></b></span></div>
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<div style="text-align: center;">
<span style="font-size: large;"><b>A Hymn for the Curie</b></span><br />
<span style="font-size: large;"><b>by FrenchRoast</b></span></div>
<br />
A Hymn for the Curie takes us aboard MS Curie around the time of the comet's destruction. FrenchRoast's version of the events features a cast of believable characters, from the stoic Captain Palander to the empathetic Hopper, whose points of view have you live the events alongside them - have hope, despair, and ultimately perish.<br />
<br />
You can read A Hymn for the Curie on <a href="https://docs.google.com/document/d/1HhmMrxaF-71L1ZEi5BlAS_4odSyCaKSr2wdJpw-b5lk/edit?usp=sharing">French Roast's Drive</a>.<br />
<br />
<br />
<div style="text-align: center;">
<b><span style="font-size: large;">Special mention:</span></b><br />
<b><span style="font-size: large;">SOMA - Cadiz</span></b><br />
<b><span style="font-size: large;">by Clyde Cash</span></b></div>
<div style="text-align: center;">
<b><span style="font-size: large;"><br /></span></b>
<br />
<div style="text-align: left;">
Cadiz also tells the survivor story of another team, landing ashore Cadiz - a realistic description of a landscape ravaged by desperate humans before the comet has the chance to strike. The characters have have very human musings about the imminent destruction. The story starts a bit slowly, but the end had us in tears.</div>
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<br /></div>
<div style="text-align: left;">
Unfortunately this piece of writing didn't have a link, but you can find it on our <a href="https://discord.gg/wT2A26">Discord server</a>.</div>
</div>
<div style="text-align: center;">
<b><span style="font-size: large;"><br /></span></b></div>
<div style="text-align: center;">
<b><span style="font-size: x-large;">Other</span></b></div>
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<b><span style="font-size: x-large;"><br /></span></b></div>
<div style="text-align: center;">
<b><span style="font-size: large;">Untitled Song</span></b></div>
<div style="text-align: center;">
<b><span style="font-size: large;">by Tosha</span></b></div>
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="240" src="https://www.youtube.com/embed/jnmQsgUNW4w" width="456"></iframe><br />
<br />
<div style="text-align: left;">
Themes can be hard to portray through music alone, but we truly felt the cold winds of autumn in the Untitled Song by Tosha. It plays on the themes of Amnesia: The Dark Descent's soundtrack, but delivers an original composition.</div>
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<br /></div>
<div style="text-align: left;">
Thank you once again for participating and cheering others on! We hope to see you back for another Fan Jam in the future.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
PS. We played the mod entries and read some fanfiction during a stream. You can find the video in our <a href="https://www.twitch.tv/frictionalgames/videos">Twitch archive</a>!</div>
</div>
Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-9193968969153274146.post-74989901675651489792019-09-12T10:10:00.000+02:002019-09-13T16:33:01.381+02:00Releasing on Nintendo Switch: Unattainable dream to reality<i>By Thomas Grip, Creative director</i><br />
<br />
This is one of my earliest memories. Eons ago, when I was about 5, my dad took me with him to his work, a department store. He then proceeded to dump me in the electronics department.<br />
<br />
Nowadays you can find game test booths everywhere, but back in the day this was definitely not the case. Instead every single item was locked inside a glass cupboard. Usually these cupboards remained locked unless you bought something… but that day was different. Tony, my dad’s co-worker, let me try out a game.<br />
<br />
As I trembled with the excitement of a 5-year-old boy, he jangled his keys, and took out the showcase version of a grey box called the Nintendo Entertainment System.<br />
<br />
Ice Climber for the NES was my first video game experience, and from that moment I was hooked.<br />
<br />
Since that watershed moment, Nintendo games have always had a special place in my heart. Super Mario, Zelda, Mega Man, Battle Toads, Blaster Master and many others were all a part of my childhood magic. The plastic feel of the controller, the chunky cartridges, and instant-booting games still evoke fuzzy feelings in me.<br />
<br />
Because of these magical childhood memories, and how video games were perceived back in the day, Nintendo has always had a certain mysterious feel to it – like an enchanted factory in a far-away country, creating games through some sort of wizardry.<br />
<br />
When I started making games myself, some 20 years back, I never thought the hobby would evolve into anything bigger. It felt highly unlikely that people would want to buy anything I produced. But, eventually, what started as a hobby turned into a job. That felt so surreal. There I was, with my stupid hobby, except it was suddenly a source of income to me. Game development still felt like that enchanted factory, full of people who knew a lot more than me with tech I couldn’t possibly afford to have. But it was real, as I came to realize over time.<br />
<br />
Yet consoles, and especially Nintendo, retained a very illusory feel. While I released my games on Steam and similar stores, the birthplace of my childhood magic felt far off.<br />
That’s why it’s so special to announce the following:<br />
<br />
AMNESIA: COLLECTION IS NOW OUT ON THE NINTENDO SWITCH<br />
<br />
<div style="text-align: center;">
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/_1Ayhhqec6Y" width="560"></iframe>
<br />
<a href="https://www.nintendo.co.uk/Games/Nintendo-Switch-download-software/Amnesia-Collection-1640594.html">Amnesia: Collection on Nintendo.co.uk</a></div>
<div style="text-align: center;">
<br /></div>
Finally – Frictional Games has made it to a Nintendo console! What had, for most of my life, felt like a distant and far-fetched dream, has now become reality. Sure, it’s not shipped on one of those fantastic grey cartridges, nor will it have a Nintendo “seal of quality” slapped on top, but I’ll take what I can.<br />
<br />
If the 5-year-old me heard about this, he would never believe me.<br />
<br />
But this is by no means the end of a journey for me – quite the opposite! It’s thrilling to think just how far the company has come, and it makes me super excited for what the future will hold.<br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipQUcNrAq-yWzx-P0_aKKkYw07Gc0UYwGJhNLDERaRPxoUGzzhhLuAdq1IzLm0ArPCiP0v_tlexLsjf_-SyRLxLD4JOQnroxFC6XYWW5970YjvAul38eTPkZpMHDiixKSZ5AlgY3V_zvG5/s1600/ThumbnailATDD6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipQUcNrAq-yWzx-P0_aKKkYw07Gc0UYwGJhNLDERaRPxoUGzzhhLuAdq1IzLm0ArPCiP0v_tlexLsjf_-SyRLxLD4JOQnroxFC6XYWW5970YjvAul38eTPkZpMHDiixKSZ5AlgY3V_zvG5/s400/ThumbnailATDD6.jpg" width="400" /></a></div>
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A huge thank you to our friends at <a href="https://www.blitworks.com/home/">BlitWorks</a> for making the port possible, and <a href="https://www.evolve-pr.com/">Evolve PR</a> (with special thanks to Ryan!) for the great trailer!</div>
<div>
<br /></div>
Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-9193968969153274146.post-31563963181117895072019-09-06T15:48:00.000+02:002019-09-06T16:31:46.241+02:00Frictional Fan Jam 2019<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix1AbT4v5mdN2HvJte-Xjk0a49mk57fsUvvTO3kIzzhxdtxFZIrPAADHRGt9iC_c4k7Ck4C6sZHZOVJUMZQlFmF1X4yBRh7RNrrdN5ndIZwGJbZW_mUbLmLSeZKkh2FnWR7pR14UsW7A83/s1600/FanJam2019_ad.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="845" data-original-width="1600" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix1AbT4v5mdN2HvJte-Xjk0a49mk57fsUvvTO3kIzzhxdtxFZIrPAADHRGt9iC_c4k7Ck4C6sZHZOVJUMZQlFmF1X4yBRh7RNrrdN5ndIZwGJbZW_mUbLmLSeZKkh2FnWR7pR14UsW7A83/s400/FanJam2019_ad.png" width="400" /></a></div>
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Screenshot courtesy of Newsman Waterpaper and their mod <a href="https://www.moddb.com/mods/amnesia-the-streets-of-london">The Streets of London</a>.</div>
<b><br /></b>
<b><br /></b>
<b>#FrictionalFanJam</b><br />
<br />
September is a meaningful month for Frictional Games, as it marks several of our anniversaries. This year on the 8th of September Amnesia: The Dark Descent will be turning 9, on 10th Amnesia: A Machine for Pigs will be 6 years old, and on 22nd SOMA will have been released for 4 years.<br />
<br />
Therefore we would like to make this month special by celebrating your community creations. Please join us for Frictional’s Fan Jam of 2019!<br />
<br />
We have recently launched an official <a href="https://discord.gg/frictionalgames">Discord server</a>, so you are welcome to ask questions, share ideas, and chat with other participants in the #fan_jam channel.<br />
<br />
<b><span style="font-size: large;">Overview</span></b><br />
<br />
The goal is to create a new fan work <b>related to one of Frictional’s games</b>: SOMA, Amnesia games and the Penumbra series, or older titles such as Unbirth. You are free to create <b>any transformative work</b>: a mod, fanart and fanfiction, cosplay, or something different like a video or a plushie. The project should be at least loosely <b>related to the given theme</b>.<br />
<br />
Since some projects (for example mods) can require more effort than others, you are also welcome to participate in teams.<br />
<br />
Please see submission guidelines below!<br />
<br />
<b><span style="font-size: large;">Theme</span></b><br />
<br />
Autumn/Decay<br />
<br />
<span style="font-size: large;"><b>Deadline</b></span><br />
<br />
The event kicks off on Friday the 6th of September. The deadline for submissions is 23:59 UTC on Sunday the 22nd of September. The jury will be going through submissions starting Monday the 23rd.<br />
<br />
<b><span style="font-size: large;">Prizes</span></b><br />
<br />
The jury of Frictional Games employees and Frictional Games Discord moderation team will pick the winners of the jam. Jury members can participate in the event, but are disqualified from winning.<br />
<br />
The winners will receive a poster of a game of their choosing, signed by the Frictional team members, sent to their home address (teams can decide on one address, max 4 prizes per team). The Frictional Team will also be featuring the works on a video with comments from Thomas and other employees. And finally - upon release of the next game, the winners will receive download codes for the game on an available platform of their choosing.<br />
<br />
<span style="font-size: large;"><b>Contact</b></span><br />
<br />
The jam is organised by Frictional Game’s community manager Kira together with the moderation team of the official Discord server, proposed and drafted by Draugemalf. The easiest way to contact the organisers is on the Frictional Games <a href="https://discord.gg/frictionalgames">Discord server’s</a> #fan_jam channel. The channel can also be used to share ideas with other community members, get feedback and look for team members.<br />
<br />
If you don’t have a Discord account, you are also welcome to contact Frictional Games through Twitter or our Contact Form, and we will help you as soon as we can.<br />
<br />
<span style="font-size: large;"><b>Submission guidelines</b></span><br />
<br />
<br />
<ul>
<li>The works must be related to one or more of Frictional’s games (SOMA, Amnesia: TDD, Amnesia: AMFP, Penumbra, and Unbirth, Fiend, Energetic)</li>
<li>The works must be at least loosely related to the the thematic of Autumn/Decay</li>
<li>The creation must be submitted on 22nd of September the latest</li>
<li>The work must be your or your team’s original creation</li>
<li>For mods you are free to use assets you can legally use, or have the permission to use from the creators</li>
</ul>
<br />
<br />
<b><span style="font-size: large;">Submitting your work</span></b><br />
<br />
You can submit your works through several channels, either by posting an image (for fanart, cosplay and similar) and/or a link (mods, fanfiction and similar).<br />
<br />
<ul>
<li>On <a href="https://discord.gg/frictionalgames">Discord</a>, you can share the project on the #fan_jam channel. Please make it clear that it's your final version.</li>
<li>On <a href="https://twitter.com/frictionalgames">Twitter</a> and <a href="https://frictionalgames.tumblr.com/">Tumblr</a>, you should mention @frictionalgames and tag the submission with #FrictionalFanJam.</li>
<li>If you don’t have a social media account, please send your submission to team@frictionalgames.com with the title “Frictional Fan Jam”.</li>
<li>Due to Instagram and Facebook’s limited searching and tagging tools, we will not be accepting submissions through those platforms.</li>
<li>All submissions will be posted by the jury on Discord’s #fan_jam_showcase channel for easier judging.</li>
</ul>
<br />
<br />
<br />
And that’s it! Go get creative! We’re looking forward to all your great projects!<br />
<br />
If you have any questions, just let us know.<br />
<div>
<br /></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-9193968969153274146.post-70613691847470388662019-08-27T14:01:00.000+02:002019-08-27T14:10:47.713+02:00Hiring: 3D Art Lead<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBd1OfJfstjNpRw6dLHiC-EG8B6OuE19wB5gyriGlxBU_Fp07lUDJpp5LQsf7hqNPFkhDuoyCf9VcHP6n9npf-JNx-jJqD482rO7b5SFmUenoEveoH4NEGsAQQyPTjS3yDWrJ48EMsKKXP/s1600/MachineryJobAd4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBd1OfJfstjNpRw6dLHiC-EG8B6OuE19wB5gyriGlxBU_Fp07lUDJpp5LQsf7hqNPFkhDuoyCf9VcHP6n9npf-JNx-jJqD482rO7b5SFmUenoEveoH4NEGsAQQyPTjS3yDWrJ48EMsKKXP/s400/MachineryJobAd4.jpg" width="400" /></a></div>
<b><br /></b>
<b><br /></b>
<b>Title:</b> 3D Art Lead<br />
<b>Focus: </b>Pipeline development, 3D modeling<br />
<b>Type:</b> Full-time, permanent<br />
<b>Last day to apply:</b> 8th of September 2019<br />
<b>Location:</b> Sweden, applicants residing in European countries welcome<br />
<br />
<br />
A door swings open, a dim light beckons you to come step further, pick up the dusty items, give them a long look before venturing forward, the architecture leading you ever deeper. Frictional’s games are filled with intrigue and emotion, the art subtly guiding the players. To keep up the illusion of a living world, the execution has to be consistent across the board.<br />
<br />
This is where you come in.<br />
<br />
<br />
<span style="font-size: large;"><b>What will you work on?</b></span><br />
<br />
We are looking for an experienced 3D Art Lead to join Secret Project #2. This is a senior position, meaning you will have responsibility over foundational elements of the project. You will work closely with other team leads, such as the creative lead and art lead.<br />
<br />
Right now Secret Project #2 is in pre-production, which means that you would find yourself working on establishing pipelines and practices for a good workflow. On the creative side you will be working within the established style of the game – creating art, researching and documenting. The 3D art you would work on include architecture and complicated props, as well as putting everything together into functional and beautiful environments..<br />
<br />
Once the project shifts into production, your role will involve more lead work. You will find yourself communicating with other employees and outsourcers, making sure tasks get assigned and done, and giving feedback. Alongside you will still be able to participate in creating art.<br />
<br />
As a small team, everyone in the company has a wide variety of responsibilities as well as rights, but we consider that our strength – no day in development will look the same!<br />
<br />
<br />
<span style="font-size: large;"><b>What are we looking for?</b></span><br />
<br />
<b>You have to be a European (EU/EEA) resident to apply. We cannot consider other applicants.</b><br />
<br />
The person we’re looking for is creative, self-motivated, and comfortable in a lead position. We need you to fulfill the essential requirements, but are flexible with how you have acquired your experience.<br />
<br />
We welcome applicants regardless of background, situation, sexual orientation, religion, and similar, so don't let anything like that hold you back from applying!<br />
<br />
Here are the essential requirements:<br />
<ul>
<li>Knowledge in 3D asset creation pipelines in digital games</li>
<li>Being up to date with the latest trends in 3D art tools and techniques</li>
<li>Not being afraid to give feedback to coworkers and outsourcers</li>
<li>Substance Designer skills in creating procedural textures</li>
<li>Ability to adjust artwork based on an established art style</li>
<li>Major role in at least one released title (not as a student/intern/trainee)</li>
</ul>
<br />
And here are some more technical skills:<br />
<ul>
<li>Experience with face weighted normals</li>
<li>Experience with trim sheets and tiling textures</li>
<li>Experience in Medium Poly Modeling</li>
<li>Knowledge in Modo, or willingness to learn it as a main 3D modeling tool</li>
<li>Some technical art knowledge (you will not have to create anything from scratch, but you should be able to communicate your needs to the programmers, or have suggestions such as saving performance on assets)</li>
</ul>
<br />
If you want to impress us:<br />
<ul>
<li>Experience with character art and/or organic art</li>
<li>Knowledge in blendshapes</li>
<li>Knowledge in motion capture</li>
<li>Experience with scripting tools in Modo</li>
<li>Experience with Marvelous Designer</li>
<li>Experience in setting up lighting and doing basic level set dressing</li>
<li>Love for hard sci-fi</li>
<li>Penchant for bold design</li>
</ul>
<br />
<span style="font-size: large;"><b>What do we offer?</b></span><br />
<br />
We at Frictional make games, because making games is what we love. But we know that’s not all there is – there’s also playing games, doing sports, or spending time with loved ones. We believe that a healthy balance between work and life creates positive ripples throughout, which is why we discourage crunch.<br />
<br />
We also offer:<br />
<ul>
<li>Variety in tasks</li>
<li>Opportunities to influence your workflow and workload</li>
<li>Flexible working hours</li>
<li>Participation in internal Show & Tell sessions for both projects, meaning giving feedback to and receiving feedback from all members of the projects</li>
<li>An inclusive and respectful work environment</li>
</ul>
<br />
We welcome remote applicants from European (EU/EEA, UK) countries. However, you are welcome to join us in our office in Malmö if you live in the area, or would be willing to relocate after the trial period.<br />
<br />
<br />
<span style="font-size: large;"><b>Apply!</b></span><br />
<br />
If all of the above piqued your interest, we would love to hear from you! Send us your application 8th of September 2019 the latest - but the sooner, the better! Please attach your:<br />
<ul>
<li>Cover letter</li>
<li>Why should we hire YOU?</li>
<li>CV</li>
<li>Portfolio (link and/or PDF)</li>
<li>Answers to preliminary questions (see below)</li>
</ul>
<br />
Send your application to <u>apply@frictionalgames.com</u>!<br />
<br />
<b>Please note that we require all the attachments to consider you.</b><br />
<b><br /></b>
<br />
<b><span style="font-size: large;">Preliminary questions</span></b><br />
<br />
Please provide a document answering the following questions:<br />
<ol>
<li>When is the earliest you could start working?</li>
<li>Tell us about the daily work you did on your last finished game project.</li>
<li>Name two games you think have high quality 3D art. Explain why.</li>
<li>Imagine you are in charge of the 3D art pipeline for a new sci-fi game. Name the top 3 things you think need to be included.</li>
</ol>
<br />
If you are <b>not</b> living in Sweden, please also answer the following:<br />
<ul>
<li>Do you have the ability to invoice?</li>
<li>What kind of hardware do you have?</li>
<li>What kind of internet connection do you have?</li>
</ul>
<div>
<br /></div>
<div>
<br />
<i>Wonder how we hire? Read our blog on <a href="https://frictionalgames.blogspot.com/2016/06/how-we-hire-at-frictional-games.html">How we hire at Frictional Games</a>.</i><br />
<i>What kind of application are we looking for? Read our blog on <a href="https://frictionalgames.blogspot.com/2019/02/writing-best-application-for-frictional.html">Writing the best application for a Frictional Games job</a>.</i></div>
<div>
<br /></div>
<br />
<div>
<b><span style="font-size: large;"><i>Privacy Policy</i></span></b></div>
<div>
<div>
<i><br /></i></div>
<div>
<i>By sending us your application, you give us permission to store your personal information and attachments.</i></div>
<div>
<i><br /></i></div>
<div>
<i>We store all applications in a secure system. The applications are stored for two years, after which they are deleted. If you want your your information removed earlier, please contact us through our <a href="https://www.frictionalgames.com/site/contact">Contact form</a>. Read more in our <a href="https://www.frictionalgames.com/site/privacypolicy">Privacy Policy</a>.</i></div>
</div>
<div>
<br /></div>
Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-9193968969153274146.post-26105728130305453182019-08-22T14:32:00.000+02:002019-08-22T14:32:56.587+02:00We're launching an official Discord server!<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ecUEFx9b9L5N_eTIHcSI0Te9FTam2mmupoE8aqYTFAfPfj9n3HiCl5v1frNfDAUDDa0BIzYYd68x02jFUfylSV23UUDj3gnsu8DQ0UpVgVnd6JAdhfFsQMd9gtI6seklmXw_0IMSwXdT/s1600/fg_on_discord.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9ecUEFx9b9L5N_eTIHcSI0Te9FTam2mmupoE8aqYTFAfPfj9n3HiCl5v1frNfDAUDDa0BIzYYd68x02jFUfylSV23UUDj3gnsu8DQ0UpVgVnd6JAdhfFsQMd9gtI6seklmXw_0IMSwXdT/s320/fg_on_discord.png" width="320" /></a></div>
<br />
<b><a href="https://discord.gg/frictionalgames">Join our server here!</a></b><br />
<br />
Frictional Games is a distant and cryptic game developer, quietly tinkering with unspeakable horrors in the darkest depths of Europe. Yet over the past while we have been chipping away at that image, exposing a softer core. And now we’re ready for the final nail in the coffin of mystery: an official Frictional Games Discord server, where you can talk directly to us, or to other fans!<br />
<br />
We hope that having a fluid, shared space like this will help casual and hardcore fans alike connect over topics that interest them, from lore conversations to sharing the cutest K8 plushie sewing patterns, from best uses of AddUseItemCallback to fanfiction tips. And, of course, anything and everything Frictional Games.<br />
<br />
Aside from community-centered involvement, we hope to bring us developers closer to you with events like Ask Me Anything threads, and an occasional casual chat. Who knows what else the future will bring?<br />
<br />
Upon launch the server includes channels for:<br />
- Frictional’s news, sales and patch notes,<br />
- Discussions about SOMA, Amnesia games, Penumbra games and Frictional Games in general,<br />
- Showcasing your mods and other fan creations like art, cosplay and videos,<br />
- Connecting with peers and discussing modding, creating fanart, or how to avoid overheating when wearing a Grunt suit,<br />
- Social media feeds,<br />
- Buying our games directly from Discord.<br />
<br />
To celebrate the launch, all our games are heavily discounted at the Discord store pages.<br />
<br />
Welcome!<br />
<br />
PS. We are open to getting a few more members for our moderator team, especially persons to balance out the majority of men. Contact community etc manager Kira for more details!Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-9193968969153274146.post-50867133652821684982019-03-27T16:09:00.000+01:002019-04-16T11:53:26.334+02:00Hiring: Audio Lead / Sound Designer<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF5tY6Iag7v5zDWwnFMugI4sU6Fb7Hhyphenhyphen5UYXPiYSf9bBWL3MwBe-Cff4Vn71ic-YfirXkBTNfAjYRP5rvWzVEj5peawzN23lsrentC5Y2A8he52tRvVyhNf3GFOtQQZwWwscMqsWPLHOTe/s1600/2019_Audio_Lead_jobad.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="1024" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF5tY6Iag7v5zDWwnFMugI4sU6Fb7Hhyphenhyphen5UYXPiYSf9bBWL3MwBe-Cff4Vn71ic-YfirXkBTNfAjYRP5rvWzVEj5peawzN23lsrentC5Y2A8he52tRvVyhNf3GFOtQQZwWwscMqsWPLHOTe/s400/2019_Audio_Lead_jobad.png" width="400" /></a></div>
<b><br /></b><b>Title:</b> Audio Lead / Sound Designer<br />
<b>Focus:</b> Creating and implementing sounds, managing audio content<br />
<b>Type:</b> Full-time, permanent<br />
<b>Last day to apply: </b>Monday 15th of April 2019 <b>/CLOSED</b><br />
<b>Location:</b> Malmö, Sweden (Doing remote work from EU/EEA countries welcome)<br />
<br />
You remember it: a faint rustle in your periphery, dragging footsteps around the corner, a raspy breath. You still break in cold sweat when you hear that high-pitched screech that means a monster is near. All the iconic soundscapes that make Frictional games what they are.<br />
<br />
We are now looking for an experienced audio designer to work in-house and continue this tradition of keeping a new generation of gamers on their toes with lovingly designed, eerie and memorable soundscapes.<br />
<br />
<br />
<b><span style="font-size: x-large;">What will you work on?</span></b><br />
<br />
We are quite a small team, but we consider that our selling point. As a sound designer you will get to work on everything from small effects to the overall mood of the project. This means your contribution will greatly influence how the final game sounds, feels and evokes emotions.<br />
<br />
Here are some of the things you will be working on:
<br />
<ul>
<li>Collaborating with designers to create soundscapes, taking both artistic and gameplay aspects into account.</li>
<li>Being a part of designing the overall mood of the game.</li>
<li>Creating some of sounds used for our monsters, machines and other otherworldly noises using libraries, or from scratch if possible.</li>
<li>Creating sound effects timed with specific events and animations.</li>
<li>Refining events by working with both our map editor and scripting tools.</li>
<li>Researching various technical features needed to achieve certain effects.</li>
<li>Handling the music, either by creating it or working with a musician.</li>
<li>All in all, helping the game world come to life.</li>
</ul>
<br />
We also encourage working outside of your area of expertise, and always learning new things. The more areas of development you are willing and able to take part in, the better! For example you are encouraged to participate in our fortnightly testing and leave feedback on other aspects of the game.<br />
<br />
<br />
<b><span style="font-size: x-large;">What are we looking for?</span></b><br />
<br />
<b>You have to be a European (EU/EEA) resident to apply.</b><br />
<b><br /></b>
The person we’re looking for is creative, driven and self-sufficient. With a remote team such as ours, the ability to organise your own work is a fundamental skill.<br />
<br />
We have recently set up a central hub in Malmö, Sweden, and will help you move to our seaside city if it suits your situation.<br />
<br />
Here are some essentials we require:
<br />
<ul>
<li>Hardware and equipment to work with.</li>
<li>We don’t expect you to have a fully equipped home studio, but enough to work on most of the sounds. Additional equipment can be provided if needed, but it is important that you have the hardware needed to start working.</li>
<li>At least one year of experience in audio production for games.</li>
<li>Good understanding of sound and music, and how they affect the player experience.</li>
<li>Ability to challenge yourself, make bold creative decisions, and try non-conventional things.</li>
<li>A critical approach to your work, with the ability to take a step back and reflect.</li>
<li>A strive for structure, efficiency, and clarity.</li>
<li>Strong self-drive and ability to organise your own work.</li>
<li>Interest in and ability to do research for interesting sound and music solutions.</li>
<li>Love for working on a variety of tasks.</li>
<li>Fluency in English.</li>
</ul>
And here are some more techie skills:
<br />
<ul>
<li>Familiarity with FMod or Wwise.</li>
<li>Basic knowledge in programming.</li>
<li>Basic knowledge of creating maps in a level editor.</li>
</ul>
If you want to impress us:
<br />
<ul>
<li>Love for horror, sci-fi, and narrative games.</li>
<li>A major role in completing at least one game.</li>
<li>Experience in level design.</li>
<li>Strong game design skills.</li>
</ul>
<br />
<b><span style="font-size: x-large;">What do we offer?</span></b><br />
<br />
We make games, because that’s what we love. But we know there are other things we love, like playing games, taking part in sports, or spending time with our families. We believe a healthy balance between work and life reflects positively on your work, which is why we don’t encourage crunch.<br />
<br />
We also offer:
<br />
<ul>
<li>Flexible working hours.</li>
<li>Opportunities to influence your workflow.</li>
<li>Variety in your work tasks, and ability to influence your workload.</li>
<li>Participation in our internal game Show & Tell sessions, so you’ll have input into all aspects of the game.</li>
<li>Social security and holidays that are up to the Swedish standards.</li>
<li>An inclusive and respectful work environment.</li>
<li>An office in central Malmö you can use as much as you please.</li>
<li>Fun workmates, game and movie nights, and other outings!</li>
</ul>
<div>
<br /></div>
<b><span style="font-size: x-large;">Apply!</span></b><br />
<br />
If all of the above piqued your interest, we would love to hear from you! Send us your application 15th of April the latest - but the sooner, the better!<br />
<br />
Please attach your:<br />
<ul>
<li>Cover Letter </li>
<ul>
<li>Why should we hire YOU?</li>
</ul>
<li>CV</li>
<li>Link to your portfolio site</li>
<li>Link to a video reel demonstrating sound design abilities</li>
<li>A document describing a game soundscape you have worked on. Please write about the following:</li>
<ul>
<li>What you worked on.</li>
<li>What you were going for with the design.</li>
<li>What went well in the project and what you would prefer to change in retrospect.</li>
</ul>
</ul>
<b>Please note that we require all the attachments to consider you.</b><br />
<br />
Send your application to <b>apply@frictionalgames.com</b>!<br />
<br />
<br />
<br />
<br />
Wonder how we hire? Read our blog on <i><a href="https://frictionalgames.blogspot.com/2016/06/how-we-hire-at-frictional-games.html">How we hire at Frictional Games</a>.</i><br />
What kind of application are we looking for? Read our blog on <i><a href="https://frictionalgames.blogspot.com/2019/02/writing-best-application-for-frictional.html">Writing the best application for a Frictional Games job</a>.</i><br />
<i><br /></i>
Want to know how sounds were made in the days of Amnesia: The Dark Descent? Check out the video starring our old sound designer Tapio Liukkonen below.<br />
<i><br /></i>
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<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/Q06d40zChDM/0.jpg" frameborder="0" height="240" src="https://www.youtube.com/embed/Q06d40zChDM?feature=player_embedded" width="426"></iframe></div>
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<b><span style="font-size: large;">Privacy Policy</span></b><br />
<br />
By sending us your application, you give us permission to store your personal information and attachments.<br />
<br />
We store all applications in a secure system. The applications are stored for two years, after which they are deleted. If you want your your information removed earlier, please contact us through our <a href="https://www.frictionalgames.com/site/contact">Contact form</a>. Read more in our <a href="https://www.frictionalgames.com/site/privacypolicy">Privacy Policy</a>.<br />
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Unknownnoreply@blogger.com13tag:blogger.com,1999:blog-9193968969153274146.post-24191606265271189052019-02-13T16:42:00.000+01:002019-02-18T17:54:11.179+01:00Writing the best application for a Frictional Games job<i>Written by <a href="https://twitter.com/kirakatve">Kira</a>, who goes through and replies to all your Frictional applications.</i><br />
<br />
<br />
So, you have decided to apply for a job here at Frictional Games? Great, we would love to hear from you!<br />
<br />
…But before you hit that “send” button, you want to make sure that you are showing yourself and your talent in the best light possible. We have already written a blog post on <a href="https://frictionalgames.blogspot.com/2016/06/how-we-hire-at-frictional-games.html">how the recruitment process works</a>, so you can mentally prepare for that.<br />
<br />
In this blog we will help you construct a good application, consisting of a CV, a cover letter and the portfolio, and even get down the nitty-gritty of the email. While we hope you apply for our positions, you are obviously welcome to use the tips when applying for other jobs too.<br />
<br />
Just remember the most important thing: <b>Always customise your application for the position you’re applying to.</b><br />
<br />
A job application is like a love letter. You have to show interest in the recipient, and tell them why the two of you could be a good match specifically. You can write a letter about how great you are and send the same version to different recipients, but be warned – that’s pretty transparent, and will not likely land you a (business) relationship, no matter how good you are.<br />
<br />
In this economic situation it might be tempting to say fuck it and cast a net as wide as possible (yes, we have moved on to fishing metaphors now). But the best fish will slip through the loose holes of a haphazardly set net. Instead, try finding one good spot and throwing in a hook with a juicy bait – the juicy bait being your best application. If you are good enough, a fish will definitely bite, and a love letter recipient will definitely swoon.<br />
<br />
Frictional is a small company with little turnover. We’re not looking to burn through talent, but to find the right applicants who will stay with us for a long time. That’s why we want the applicants to be interested in and motivated to work with us specifically.<br />
<br />
Do you love us? We love you too! Now let’s go write that application!<br />
<br />
<br />
<b><span style="font-size: x-large;">1. Read the job posting</span></b><br />
<br />
This might sound obvious, but <b>start by reading the job posting. Then read it again.</b><br />
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If you’re exactly what the posting is looking for, then great. You can use your previous work as examples of why you’re a good match. Are you a generalist? Pick your strong points that you would use in this job.<br />
<br />
Feel like you don’t quite fit the criteria? Do not despair. Especially women <a href="https://hbr.org/2014/08/why-women-dont-apply-for-jobs-unless-theyre-100-qualified" rel="nofollow">tend to not apply for jobs they don’t feel 100% qualified for</a>. Think about your best qualities. Think about the hobby projects that you’ve done. Those count too.<br />
<br />
(But be realistic about it. If your skillset is wildly different from what the job would be, you might want to wait for another opening. Otherwise you are mostly wasting your own time.)<br />
<br />
Now compare your skills to the job’s requirements and get ready to use those points in the next steps.<br />
<br />
<br />
<b><span style="font-size: x-large;">2. CV</span></b><br />
<br />
The CV is all about you, dearest. It’s your dating profile where you can show your best angles, or that really big fish you caught once.<br />
<br />
When the perfect job comes along, you don’t want to spend hours digging out when exactly you interned at that one place. <b>Keep a meta-CV of all your experience, skills and achievements.</b> This can be a document, or it can be a website or LinkedIn page you can link in the CV. An accessible online CV especially good if you have gaps in your relevant experience because you were helping out at your cousin’s ice cream business or similar.<br />
<br />
Remember the previous step where we looked at the job requirements? You can now cherrypick the most relevant points from your meta-CV and put them in your<b> tailored CV.</b> Quality over quantity and all that. Start from the most recent relevant one.<br />
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<b>A good CV is 1–2 pages long.</b> If you only picked the most relevant experience, you should be able to keep it tight. But do write in detail about the relevant experience. If you only gloss over your experience in big strokes, the employer will not be able to tell what you have actually done and achieved. Share specific tasks and examples, list your best achievements.<br />
<br />
If you have skills outside your field, such as multiple languages or software, you can list those too. Just keep them tight. But, despite being your so-called dating profile, listing hobbies might not be very relevant. But if you’ve done game jams or similar, go ahead! They are relevant and they count.<br />
<br />
<b>Do:</b>
<br />
<ul>
<li>Keep a meta-CV.</li>
<li>Always customise your CV based on the position.</li>
<li>Start with the latest relevant experience.</li>
<li>Write in detail about your relevant experience.</li>
</ul>
<b>Don’t:</b>
<br />
<ul>
<li>Send the same CV to every position.</li>
<li>List every job you’ve ever held.</li>
<li>Start your CV with the first job you ever had.</li>
<li>Start with education instead of work experience (unless you’re a recent graduate).</li>
</ul>
<br />
<br />
<b><span style="font-size: x-large;">3. Cover Letter</span></b><br />
<br />
If the CV was your dating profile, the cover letter is your love letter. And a love letter cannot just be a glorified dating profile.<br />
<br />
Picking relevant experience for the CV already shows that you put thought into your application. But the cover letter gives you an opportunity to <b>show that you truly care about the company, their games and the position</b> – or at least have knowledge about them. It’s incredibly easy to spot if someone sends the same cover letter to everyone, because they only talk about themselves. You can reuse lines you’ve written for similar positions, but make sure to keep them relevant.<br />
<br />
The cover letter is also a great opportunity to talk more about why the skills you have acquired would translate well into the position advertised – especially if your experience is moreso from hobby projects. Convince the company why <b>you</b> would be a good match for <b>them</b>.<br />
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<br />
It’s easy to get lost in profound expressions of love, but a good cover letter is half a page to 1 page long. Being concise is also a skill.<br />
<br />
If the job posting mentions expected salary, this is a good place to mention it.<br />
<br />
<b>Do:</b>
<br />
<ul>
<li>Talk about why you want to work with this company specifically.</li>
<li>Talk about your skills in relation to the job’s requirements.</li>
<li>Tell the company why they should hire you. Be bold.</li>
</ul>
<b>Don’t:</b>
<br />
<ul>
<li>Send the same cover letter to every company. It’s easy to spot.</li>
<li>Only change the name of the company in the letter. Generic wording is also easy to spot.</li>
<li>Only talk about yourself with no relevance to the company or the position.</li>
</ul>
<br />
<br />
<b><span style="font-size: x-large;">4. Portfolio</span></b><br />
<br />
For better or worse, looks are important. In this case your dating profile pictures are your portfolio. The portfolio is a way to <b>back up the claim that you’re as good as you say you are</b>, for both artists, programmers and other folks.<br />
<br />
While a good portfolio looks different depending on whether you’re an artist, a designer or perhaps a communications person, there are still good general practices when it comes to putting one together. In this segment we will use artists as an example, but you can use your imagination to apply the tips to other fields.<br />
<br />
Just like with a CV, <b>keep a master portfolio.</b> For artists it can be sites like Artstation or Behance, or perhaps your own site. Pick the pieces you are most proud of, but are varied enough to show off your versatility.<br />
<br />
From the master portfolio, you should again pick the pieces most relevant to the position and create <b>a tailored portfolio.</b> If the company is looking for a props and environment artist, those are the things you should be concentrating on. Also look at the stuff the company has previously done. Have they only done high-poly? Their next product will probably not be low-poly.<br />
<br />
There is no rule to how long the portfolio should be. <b>The key is making it easy for the recruitment team to immediately see if you are a good or potential match.</b> For an open position you can choose some pieces relevant to the position and put them in a PDF, or link them from the master portfolio. For an open job query, pick a few pieces that are most in line with what the company is doing.<br />
<br />
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<br />
It is also a good practice to mention what you actually did for your works. Here at Frictional we wear all of the hats. The artists do everything from whiteboxing to textures. We need to know if you know how to do those and didn’t just make others’ textures and assets look good.<br />
<br />
<b>Do:</b>
<br />
<ul>
<li>Keep a master portfolio of all your work.</li>
<li>Send a portfolio or links to a few relevant pieces.</li>
<li>Mention what you worked on for the pieces.</li>
</ul>
<b>Don’t:</b>
<br />
<ul>
<li>Send the same top picks to every company and every position.</li>
<li>Send all the portfolio pieces as separate files (links are ok).</li>
</ul>
<br />
<br />
<b><span style="font-size: x-large;">5. Email</span></b><br />
<br />
Chances are, there are also other jobs you have or will apply for. It’s good practice to have a <b>professional email account for official business.</b> Something with a neutral email handle and your real name as the sender. It makes it easier to find your application later. Having a signature with your contact information and links to your master CV and portfolio is also handy.<br />
<br />
Some email platforms will show your profile picture, so make sure you at least know what it is. You might want to think twice before using a topless beach pic or a dank meme. The recruiter will probably have a chuckle, but might not be left with the best impression.<br />
<br />
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<br />
Make sure you include some sort of cover text in the email. It can be pretty generic, informing of your interest in the position and the attachments you have provided. This is also a good place to mention your master CV and master portfolio. Even better if you get a short elevator pitch in.<br />
<br />
<b>Do:</b>
<br />
<ul>
<li>Use your real name in the email.</li>
<li>Have a signature with contact info and links.</li>
<li>Write a short cover text, like an elevator pitch for your application.</li>
</ul>
<b>Don’t:</b>
<br />
<ul>
<li>Have a shirtless profile picture. No, seriously.</li>
</ul>
<br />
<br />
<b><span style="font-size: x-large;">6. Personal Information</span></b><br />
<br />
Getting a feel of a person is important, but not all information you provide will help us with that. There are some things the employer is not even allowed to ask (family relations, religion…), and being upfront about them puts the potential employer in an uncomfortable position. Emphasis on the <b>potential</b> part. If you get hired, we will ask you for the details we need.<br />
<br />
<b>What a potential employer DOES need to know:</b>
<br />
<ul>
<li>Real name</li>
<li>Email address</li>
<li>Country of residence</li>
<li>Links to your master portfolio and CV</li>
<li>Phone number (we don’t need it but most companies do)</li>
</ul>
<b>What a potential employer DOES NOT need to know:</b>
<br />
<ul>
<li>ID number</li>
<li>Birthday</li>
<li>Home address</li>
<li>Marital status and/or children</li>
<li>Ethnicity or nationality, gender, religion. disabilities or similar</li>
</ul>
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<b><span style="font-size: x-large;">7. Think of the recruiter</span></b><br />
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The recruitment team might get hundreds of applications every day. Sometimes the recruitment team is just one human being, who also does other things.<br />
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Just like with life in general, the key word is empathy. <b>So send the kind of application that you would like to receive.</b><br />
<b><br /></b>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgefSUHSmoRzixw2nSO2GDPkbD9Lg6snJA_v5IxDiuPdr00rrX67bub33fhHZy2mfJFclUy9-OmOi8_fuvH_UEympyuzZEMB6vd1XtLofjvGDLrfw7pgMhcaIjVJrz77T3X4YFmfHMlfDWb/s1600/application+blog+pics+7.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1090" data-original-width="1600" height="271" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgefSUHSmoRzixw2nSO2GDPkbD9Lg6snJA_v5IxDiuPdr00rrX67bub33fhHZy2mfJFclUy9-OmOi8_fuvH_UEympyuzZEMB6vd1XtLofjvGDLrfw7pgMhcaIjVJrz77T3X4YFmfHMlfDWb/s400/application+blog+pics+7.png" width="400" /></a></div>
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Make sure the application easy to go through, and that the attachments are easily accessible and in proper file formats. Be sure the relevant links are easy to find, and that they work. If you want to make a recruiter happy, include your own name in the attachment names (so it doesn't become CV(69).pdf on the recruiter's computer).<br />
<br />
<b>Do:</b>
<br />
<ul>
<li>Save your CV, cover letter and any other files in PDF format</li>
<li>Make everything easy to find</li>
</ul>
<b>Don’t:</b>
<br />
<ul>
<li>Save your text files as doc/x, rtf or txt, or especially png or jpg.</li>
<li>Send your portfolio pieces as multiple separate files.</li>
</ul>
<br />
<br />
<b><span style="font-size: x-large;">8. Afterword</span></b><br />
<br />
There is no sure-fire way to make the perfect application. But the more tailored your application is, the better your chances are.<br />
<br />
And lastly: even in an application, feel free to let your personality show. If the company doesn’t like your genuine application, you wouldn’t be happy working with them anyway. If they do… they will remember you.<br />
<br />
Good luck!<br />
<br />Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-9193968969153274146.post-33248306695444850042019-01-14T16:24:00.000+01:002019-01-14T16:46:10.416+01:00Thoughts on Detroit: Become HumanBy Thomas Grip<br />
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Quantic Dream learns with each game, and adresses their issues with new features. But with new features come new issues, and lots of juicy design lessons. In this blog post I will talk at length about affordance, then touch upon branching and themes.<br />
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<b><span style="font-size: x-large;">Intro</span></b><br />
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It has been a while since my last design blog, and I felt it was finally time to write one again. And since I just played through Detroit: Become Human, that’s what I decided to write about.<br />
<br />
First off, let me say that I quite liked the game. I had issues with how they tackled some of the themes (especially in regards to robots), and felt they could have taken some aspects of the world they created more seriously.<br />
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What made up for the so-so narrative bits were the production value (such as some very cool environments), and the myriad of exciting scenarios. It’s not an easy feat to create scenes that are not just narratively compelling, but also engaging play-wise – especially not in the sort of story that Detroit tells.<br />
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On top of this, the branching and the choice possibilities in Detroit are insane. It is a lengthy game, taking well over 10 hours to complete, and yet as the story unfolds there is a constant stream of differences that all depend on your previous choices. Everything to how crime scenes change to how characters make remarks depending on how you played some previous scene is amazingly well done. The scenes are constantly constructed from a wide array of options, but everything flows together into a coherent whole. Other branching games, such as Hidden Agenda, have a much more jarring presentation where the inserted lines and cuts in the flow are obvious. In Detroit, flow flaws are basically nonexistent.<br />
<br />
So, it is fair to say that production-wise Detroit is quite a achievement. However, the game starts to stumble as it tries to be just that – a game.<br />
<br />
Just like with previous titles from Quantic Dream, Detroit tries to be what is essentially a playable movie. Mixing film and games gives rise to all sorts of interesting design decisions and issues – issues that are hard to see in other games. It is clear that Quantic Dream are aware of the flaws they have had in their previous games, and there are a bunch of new feature that try to address the issues.<br />
<br />
But with new features come new issues, and lots of juicy design lessons. In this blog post I will talk at length about affordance, then touch upon branching and themes.<br />
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<br />
<b><span style="font-size: x-large;">Affordance</span></b><br />
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The first topic of this blog is how Detroit: Become Human handles affordance. The game takes place in one of the most challenging environments there is design-wise: inhabited real-life spaces. Spaces that contain a bunch of everyday items, such as drawers, pictures, tools, televisions, coffee cups, keyboards, clothes and so on and so forth. These are all objects we are not just accustomed to interact with – we also have expectations of their usage. As a player, you need to be able to figure out what objects you can interact with and in doing so you are constantly battling your ingrained notion of how these objects ought to work.<br />
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In Heavy Rain (2010), Quantic Dream’s earlier game, the only way to figure what you can and cannot interact with is to carefully check your surroundings and see if an interaction icon pops up. There are some objects that signal pretty clearly that you can interact with them, such as a corpse at a crime scene that you are able to examine. A design goal for a game should be to be able to use your intuition to figure out what sort of items you ought to be able to interact with – but the Heavy Rain never lets you train that intuition. Obvious objects are more an exception than a rule, and thus the player’s optimal strategy ends up being doing a brute force search of the room to try and locate all the hotspots.<br />
<br />
So why is this bad?<br />
<br />
There are two main issues with not being to identify points interaction. The first one is that it lessens the game’s sense of immersion. The second is that it doesn’t allow you to properly “play” the game. Detroit has some tricks up its sleeve to reduce both of these, but before we get into that it is worth to discuss just what is so problematic with these issues.<br />
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<b><span style="font-size: large;">Immersion</span></b><br />
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Let us first go over the issue of immersion.<br />
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In order for a player to feel immersed in an environment, they need to internalize the surroundings. This is something I have covered in <a href="https://frictionalgames.blogspot.com/2017/04/evoking-presence.html">other posts</a>, but basically it means that players need to actively take a part in the fantasy. And in order for a player to feel present inside a virtual world, they need to have what is called internal representation.<br />
<br />
While it may not seem like it, real life also operates on internal representation. You don’t simply “see a chair”. The act of seeing a chair triggers all sorts of data about chairs: what their physical properties are, what you can do with them, what are your available actions and so forth. All of these combine into the actual sensation that there is a chair in front of you.<br />
<br />
Here comes the issue. If you play a game where looking at a chair lacks any situational data, the player’s mental representation is empty. They fail to build any vivid fantasy for the virtual scene that the game tries to build. In turn the player is unable to place themselves, as in their actual selves, inside the game world. When games fail to take this into account it results in a world that doesn’t feel very immersive.<br />
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<b><span style="font-size: large;">Play</span></b><br />
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Secondly, the gameplay issue with affordances is that the player lacks the ability to plan. I have gone over player planning and why it is so important for good gameplay in a <a href="https://frictionalgames.blogspot.com/2017/05/planning-core-reason-why-gameplay-feels.html">previous post</a>, but let’s do a quick recap: we don’t play games by just reacting to stimuli that the games send our way – instead, most of the gameplay takes place inside our heads. We survey our environments, go over long- and short-term goals, and decide what set of actions are the most optimal to reach said goals. The longer and more accurate plans a game allows the player to make, the better it will feel to play.<br />
<br />
As a clear example, let’s compare a moment playing Dragon’s Lair (1983) to a moment in Civilization (1991). Civilization is filled with possibilities and room for planning. Dragon’s Lair on the other hand is just a linear path where you can only get good by memorizing a specific sequence. This is not the most fair example, but should illustrate the primal differences.<br />
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Games like Heavy Rain and Detroit, as well as classic adventure games, rely on putting the player in a real-life situation and making that the core of planning one’s actions. Taken at face value, it’s somewhat easy to understand what your options are when trying to find shelter for the night, because it is all based around elements that we know from real life. It’s much harder to know what to do during a laser-wielding vampire bat robot attack.<br />
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The issue is that the real world is incredibly complex, and a game cannot possibly recreate all the alternatives that a person could think of. This means that even though you might intuitively make up a certain plan, you can’t be sure whether the game will actually support it or not.<br />
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<b><span style="font-size: large;">Solutions?</span></b><br />
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The main trick of Detroit, and Heavy Rain before it, is to simply make each scene feel like a movie scene. It gives the player a feeling for how the scene ought to evolve next, and how the character(s) ought to react. So the player gains their affordances not from how they view the scene, but how they imagine the characters (and to some extend the director) doing it. On top of that, the very cinematic structure pushes a narrative that makes up for the lack of immersion.<br />
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The player’s feelings here depend a lot on how they play the game. If they play as if they are the protagonist, these problems can become quite severe. It is a lot less damaging if the player views their role as a director. Then they are distancing themselves from the game and viewing the whole experience differently. Most of the discussions I bring up in this post are mainly centered around the former playstyle where you actively take on the role of a certain character.<br />
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Therefore, imagining yourself as the character in Quantic Dream games doesn’t really hold up – especially when the player is supposed to have a more lengthy interaction. In Heavy Rain it is easy to fall into optimizing behaviour and do brute force search to see what you can interact with. This sort of searching turns what is supposed to be a realistic environment into an abstract play field. Heavy Rain also has real trouble giving you a sense of your options. So, most of the game is played based on moment-to-moment reactions rather than deliberate planning. More Dragon’s Lair than Civilization.<br />
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It is clear that Quantic Dream know about these issues, as Detroit does quite a lot of things to try and fix this. The two major ones are explicit hotspots, and quest lists. The hotspots that pop up make it feel like a <a href="https://www.youtube.com/watch?v=Ys4_W9jNGDY&feature=youtu.be&t=60">“batman mode”</a>, where the time stops and the environment gets a line-mesh overlay. When in this mode, all nearby possible interactions display glowing icons. On top of this, all of the character’s short term goals are displayed as well, including those that haven’t been unlocked yet. Detroit also shows various goals, and even characters’ feelings, as big in-world text throughout the game. This gives the player a better idea of what they are supposed to do, and what are the available tools to achieve their goals.<br />
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<b><span style="font-size: large;">Problems</span></b><br />
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The problem is that these new features don’t really try to fix the underlying problems of affordance. They are more like crutches, propping a flawed system. In a perfect world, these systems should be used as a sort of tutorial for the player. Once they get a better sense of how the game works, they should be able to stop relying on them, and instead rely on their intuitive understanding.<br />
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What happens instead is the opposite. The further you get into Detroit, the more prone you get to use these systems. In my playthrough of Detroit I used the “batman mode” quite sparingly for the first few hours – but as time went on I used it more, to the point where I almost stopped trying to intuitively parse the environment at all. Why? Because if I didn’t use it, I was more likely to miss hotspots and tasks, and therefore not get everything I wanted from the scene.<br />
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In the end, this style of play actually made me plan more. But all of this planning was happening in an abstract realm. I was playing a game of “choose from explicit options given to me by the game’s designer”, rather than actually making decisions based on the world that was presented to me. This often lead to weird situations where I did tasks that I didn’t know existed (eg. go look for a bag I didn’t even know was there).<br />
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Worse still, it made me act less like the characters I was supposed to be playing as. Detroit features a fair bit of detailed crime scenes that I was supposed to search, but because of the crutches I never tried to analyze the scenes as an actual detective. Instead I was simply searching for abstract hotspots. To make matters worse, the game often told me just how many hotspots there were to find, making me feel and thing even less like a detective.<br />
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The important takeaway here is just how important it is to find a way to create a game that actually makes the player engage in the game as it is. Detroit is not the only game that uses this kind of crutch, it’s quite common. And it is not always bad, either. For instance in Metal Gear Solid you have exclamation points pop up over soldiers’ heads when they spot you. However, they key difference here is that it adds information to the scene that is already in front of you. There are actual character models, sounds and so forth that play into the scene.<br />
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When you try to design crutches, you need to make sure that they supply something extra to the fantasy. They shouldn’t act as a substitute for the game’s actual world.<br />
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<b><span style="font-size: large;">The magic of narrative</span></b><br />
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It might seem like I didn’t like the gameplay in Detroit – but the fact is that I found it quite engaging. I think this is really interesting. Despite all of the apparent flaws in the system, it still felt like I was part of the narrative. This was especially true for the detective work. The same was also true in the 2018 Call of Cthulhu game. There the detective scenes were even more simplistic, almost like playing a basic “hidden object” game, and yet I found them strangely compelling.<br />
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How is this possible? I think a lot of this is in line with the 4-layer approach that <a href="https://frictionalgames.blogspot.com/2014/04/4-layers-narrative-design-approach.html">I’ve written about before</a>. The foundational thinking with the 4-layer approach is that when you put any gameplay in the context of story, doing that gameplay feels like playing a story. Detroit does a lot of things right when creating this sort of merger between systems and narrative.<br />
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First of all, Detroit is very good at setting up the context. A scene always starts with some sort of cutscene (“cutscene” feeling like a weird word in an interactive film game, but working as a distinction in this context), that lays out the story reasons as to why you are doing the investigation. So when you are essentially searching for hotspots, the whole setup makes it feel as if you are doing detective work, even if you are not mentally embracing the detective role.<br />
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Secondly, when you find a hotspot, you always get information that has something to do with the narrative. The actual value of the information varies a lot: sometimes it’s useful and sometimes it’s just techno babble. But in all cases it feels like narrative feedback. When this is combined with the explicit – and very gamey – feedback that says you just found one of the three clues, it feels more like progressing a case than fulfilling abstract game requirements.<br />
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Finally, when you manage to find all the clues, the abstract (game-y) accomplishment always comes with some sort of narrative reward. For instance when searching a corpse, you get to view a reconstruction of what happened to this person. In many other cases you may unlock a new dialog option. And in every case you feel like completing the tasks makes you progress the narrative. So, even though the gameplay is abstracted, you still feel like you are inside a story.<br />
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<span style="font-size: large;"><b>The power of holism</b></span><br />
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On the surface all of this feels a bit like cheating. But I think that’s the wrong way to look at it. Instead it’s something to be embraced.<br />
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In fact, on our journey to progress the storytelling potential of games as a medium, I am of the position that trying to do it without any form of “cheating” is a dead end. All entertainment is based on fooling your audience. Illusion is an essential part of the craft. The trick is just to cheat in such a way that it goes unnoticed.<br />
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What feeds into this illusion is the fact that humans tend to be bad at understanding why they’re feeling something. As an example: one tends to find a potential partner more attractive when drinking something hot while around the person. That is because hot drinks activate responses similar to arousal, eg. increasing the blood flow. The brain just tends to attribute these responses not to coffee, but to the potential partner, tricking you into thinking you are feeling aroused.<br />
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In a similar manner, when you feel accomplished for finding one of the three abstract hotspots, that feeling gets entwined with the detective narrative. These two parts get mixed into a single whole, and that whole becomes a compelling experience. It is worth to note that both sides can help the other. The narrative makes simple gameplay feel exciting, and the feedback on the other hand can make flawed narrative feel compelling. It is larger than the sum of its parts in the purest sense.<br />
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You can get an especially good sense of how this two-way feedback works when the system starts breaking down. I find that this can happen quite a lot in Detroit’s action sequences. There the narrative stops being the focal point, there are less narrative rewards upon success, and the input gets less clear (as it is merely about split second reactions). As long as the goals and actions are easily identifiable, eg. hiding and closing a door, the narrative-system symbiosis remains in place. But once it turns into blocking and returning punches, the player (or at least I) get distanced from the action. It becomes more of an abstract challenge than a piece of interactive storytelling.<br />
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So in a way, the increased abstraction actually works for Detroit’s benefit. By showing some numbers going up, and clear objective pointers, the game manages to add a more concrete feedback loop. As explained above, it also comes with issues, but also gives the game more opportunities for narrative-system symbiosis.<br />
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Detroit uses the symbiosis to simulate all sorts of situations, often with quite pleasing results. What stood out for me was an interrogation scene with a stressed-out android, and a scene where I had to make sure a police officer didn’t become too suspicious of my character. The success of those scenes came from mixing simple, gamey systems together with narrative in a holistic manner.<br />
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If you want to dig deeper into various ways to achieve this sort of merging of elements, Detroit is an excellent case study. Since the scenes featured are quite diverse, the ways of combining systems an narrative vary, and the results vary along with that.<br />
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<b><span style="font-size: large;">Improvements?</span></b><br />
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While there are many interesting aspects about the game, it does have lot of room for improvement. I want to discuss that a bit.<br />
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Detroit relies heavily on increased abstractions (such as the aforementioned hotspots and objectives), and I don’t think that’s the right way. I find it better to try and achieve the same kind of affordance by using a story-like world. It is not the abstraction per se that allows to combine systems and narrative, but the player’s understanding of cause and effect.<br />
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Using abstractions also comes with a lot of issues. In my opinion, the biggest issue is the negative effect on immersion. If the world the player navigates is just filled with simple, systems-specific abstractions, the player can never transport themselves into the world.<br />
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At best, the actual rendered world (environments, characters etc.) just becomes narrative background. Instead as a designer, you want the world’s elements to be what the player uses in order to be an active part of the game. The aim should be for the player to gaze at a rendered scene, and have a mental model of all the interaction points and how these can be used for various plans, <a href="https://frictionalgames.blogspot.com/2017/04/mental-models.html">as I have written earlier</a>.<br />
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Just compare a scene from Detroit…<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkhIyhD_vgHTP-JqUpi6iND31Dv1EvUynP160l5bDVR10FHmhC3B1fQT6C-KxonAIvyLF7OV617lkQZcKcyi7NVMMQA58A2Ab_6Sl-zCdhmTX491frorFT3PalHBIgrbMeHCyCBoZ4yt1o/s1600/screenshot_2018-12-21_13.24.20.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="579" data-original-width="872" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkhIyhD_vgHTP-JqUpi6iND31Dv1EvUynP160l5bDVR10FHmhC3B1fQT6C-KxonAIvyLF7OV617lkQZcKcyi7NVMMQA58A2Ab_6Sl-zCdhmTX491frorFT3PalHBIgrbMeHCyCBoZ4yt1o/s400/screenshot_2018-12-21_13.24.20.png" width="400" /></a></div>
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...to a scene in Super Mario Bros.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi7Mc0DrhPXfJebDF0jxv5jFFH1lUqQXjumEn6fSeYWrIwgp2eUVaTgSmV9Akfjr8d2ikqBOnmdZvAajC6Bm4XrL2cG_VdMmW953CZMZy3DsxWHQov9Uss8s34ZldXz-nlBVhgdBy6hl25/s1600/lataus+%25283%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="354" data-original-width="630" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi7Mc0DrhPXfJebDF0jxv5jFFH1lUqQXjumEn6fSeYWrIwgp2eUVaTgSmV9Akfjr8d2ikqBOnmdZvAajC6Bm4XrL2cG_VdMmW953CZMZy3DsxWHQov9Uss8s34ZldXz-nlBVhgdBy6hl25/s400/lataus+%25283%2529.jpg" width="400" /></a></div>
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In Detroit, I am not sure what things I can interact with, nor how they would affect me. From just looking at the world as-is, it is impossible to make any sort of concrete action plan. On the other hand Mario is very accessible, at least to anyone who has ever played the game. You can easily see every object, imagine how you can interact with it, and plan your progress accordingly.<br />
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The sort of readability that a Super Mario game has is what you want as a game designer. The thing to learn from Detroit is that you don’t need incredibly complex actions in scenes to create an engaging narrative. In fact, the actual gameplay can be simple and “dull” – as long as you are able to combine it with a narrative. However, there would be a huge difference if the interactions you partake in are grounded in the game’s world, instead of just being abstractions.<br />
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There are obviously other things to improve, especially the player’s ability to plan. But as a first step, I think having Super Mario level of affordance in the game’s world would be a huge improvement.<br />
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<b><span style="font-size: x-large;">Branching</span></b><br />
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Now before I end this article, there are two more topics I want to cover. The first of these is branching.<br />
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Before making Detroit: Become Human, Quantic Dream made Beyond: Two Souls (2013). This game took a slightly different approach to the idea of a game as an interactive movie – especially when it came to branching. The game’s story had a ton of different ways to play out, but as recounted in <a href="http://pressxtostory.blogspot.com/2015/01/player-choice-and-branching-narrative.html">this article</a> by Press X to Story, it went mostly unnoticed by players.<br />
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It feels like Quantic Dream really reacted to this because damn, they are now really pushing the branching angle. There is a node tree at the end of each scene, there’s visual cues when conversation subjects unlock, there are lists of things you could do, the latter scenes obviously change, and so on.<br />
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And it really does feel like the open story and the branching matters. Especially interesting are the node maps. In the maps, all the choices you could have made are laid out, but the ones you didn’t make in your current or previous game are blanked out. At first I really didn’t like it, but the more I played the more it grew on me. It seems like it had a certain ad-hoc effect, and I can still sort of feel it. Remembering a scene often feels cooler than actually playing it. To me, the Detroit showing you potential paths I could have taken make my choices seem more compelling, when viewed in retrospect.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbez_y5VMY6e09-L-NHSlu9F0HhH5JUS-0v3jntPouw6FDagQOI_vtQui1Wy9CNk29lPm-Qlmlbod2x9G-7dp0v2O2TiTNUbVi31jcr0O6kuJ-OjwXmuHaGDtvgsANRSURgkC8ahcDAXKA/s1600/screenshot_2018-12-21_16.31.45.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="768" data-original-width="1569" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbez_y5VMY6e09-L-NHSlu9F0HhH5JUS-0v3jntPouw6FDagQOI_vtQui1Wy9CNk29lPm-Qlmlbod2x9G-7dp0v2O2TiTNUbVi31jcr0O6kuJ-OjwXmuHaGDtvgsANRSURgkC8ahcDAXKA/s320/screenshot_2018-12-21_16.31.45.png" width="320" /></a></div>
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This might feel a bit like a cheat. But as discussed before, cheating is how entertainment works. Still, a part of me wonders if Detroit could have handled it in a more subtle way. Sometimes it felt like too much to get all the possible courses of events shoved in my face. I would have liked it if the would have treated the overall branching as it did the special dialog and changes in scenes. But at the same time, I wonder if that would have given across the feeling that the story was indeed open-ended and had tons of options – as Beyond: Two Souls failed to convey.<br />
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The best way to get away from the trap of being overly explicit is to, as explained above, up the level of affordance. In a perfect scenario, the player should know about the ways the scene could have gone simply by having mentally analyzed the scene. For instance, Civilization doesn’t need a node map at the end of a round for the player to know that there are many other ways things could have gone. This is not the most fair comparison, as I don’t think it’s possible to make a storytelling game that is as systemically driven. But it does give you a sense of what sort of feeling games could strive for.<br />
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<b><span style="font-size: x-large;">Themes</span></b><br />
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Given that Detroit deals with a few themes similar to SOMA, it feels like I need to say something about Detroit’s themes to close this off. It would be too much to go over all aspects of the game, so I will just focus on one: robot and human similarities.<br />
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I think the game would have been a lot more thematically interesting if the robots didn’t look so human. Instead I think it would have been much better if they looked like the robots from the movie I, Robot (2004), or perhaps something out of the Boston Dynamics lab.<br />
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Right now it’s just too easy to sympathise with the robots. It would be much more fun if the player started the game thinking the robots did not deserve any rights, and the thinking would evolve throughout the game.<br />
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The robots’ thinking is also too human. Again, it would be much cooler if they felt more alien in how they handled their emotions and so forth. There is actually less neurodiversity between humans and robots in Detroit than there is among real humans overall.<br />
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For example, right now it doesn’t make much sense for a player to want for Connor to stay an obedient robot. The story pretty clearly pushes the player to want Connor to become a deviant (a robot free from human masters). If the Connor had looked a bit more spooky, or had weirder ways of thinking, it would have made the choice less obvious and forced me to think more about my alternatives.<br />
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It would also seem weird that people would want to buy servants that look so human. People can already feel bad for a Roomba, let alone something that looks like a fellow human. It would make more sense for the robots to actually look like robots.<br />
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I know that Quantic Dream wanted to show off their facial animation tech, and make sure it was easy to relate to the protagonists. But the point stands: a version of Detroit with robots that are clearly not human would be damn interesting to play.<br />
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Unknownnoreply@blogger.com11tag:blogger.com,1999:blog-9193968969153274146.post-33679498042027416372018-11-08T17:09:00.000+01:002018-11-08T17:20:41.096+01:00People of Frictional: Miguel Nogueira<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
Hi. My name is Miguel Nogueira and I am a concept artist and designer at Frictional Games. My job is to create art for concepts that we might or might not add to the game. The point of concept art and design is planting creative seeds in others through the means of art, to spark debate on the suggestions, and to bring the concepts to life from sketch to product.<br />
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I love horror and fiction, so when the opportunity to join Frictional as a freelancer game in August of 2017, I was too flattered to say anything but yes. And in October of 2018, I joined the company as a full member.<br />
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As a video games maker, I naturally played a lot of games when I was younger – almost to an unhealthy point. As a 7-year-old kid, this box that I could play on without going outside, or without touching physical toys, was like black magic or voodoo to me. The first game I played was the very first Wolfenstein 3D, released back in 1992.<br />
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I wanted to reverse engineer the game. While trying to do so, I broke the computer and got grounded so many times that it wasn’t even funny. Fixing a computer or operating system error was not only hard in the early 90’s, it was also expensive… But I was fascinated by it. The 7-year-old me had a plan to one day master video games.<br />
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Besides that, like any true 90’s kid, I owned many cheap consoles that ran Super Mario, Bomberman, Duck Hunt and all that other fun stuff. But they weren’t that inspirational – I thought of them as merely a hobby or a fun way to pass time. It was only when I got back into computer games that the immersion really kicked in. Eventually, I got the desire to be a part of the vanguardist front of the current game making age.<br />
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While in college, I was still playing a lot of games. I was studying graphic design and multimedia arts, so video games actually inspired me to come up with shapes, colors and designs. Around that time Dark Messiah and the Metal Gear Solid series were what glued me to the screen. There was something about Dark Messiah specifically, its environments, ambience and designs, that was so magical, but at the same time so haunting. It really drew me into the tales of primordial myth – the ones that make you ask what if?<br />
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I got into horror way late. I was just looking for ways to relax with films or, so didn’t get the hype of media that would scare me or stress me out instead. But later on, I realized that there was also good horror out there, like there is in any other genre, full of mystery that unveils slowly. And then there’s, you know, the cheap stuff.<br />
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<span style="font-size: x-large;"><b>Getting into concept art</b></span><br />
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Ever since I was that 7-year-old, a part of me had subconsciously wanted to break into the creative field of concept art. I first found out about it when I was 15, and it was thanks to DeviantArt. Back then, around 2005, the site was at its prime, and the only good place to discover and share art. All the art there was mind-blowing, but there was something about concept art that I really loved.<br />
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Then in and after college I experimented a lot with fine art, graphic design, graffiti, typography, and other design fields. But it wasn’t until I saw some robot designs by Darren Bartley and Nivanh Chanthara that I stopped and thought: “This is what I want. These people look like they’re having a lot of fun doing those. I want in.”<br />
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College itself was tricky for me. When people ask me if it helped me to get a career in games, I’m still on the fence. There was a love-hate relationship going on. On one hand, college provided me with inspirations that I will keep my whole life. It taught me about the European vanguardist artists and how their approach changed the art world, about the importance of the industrial revolution in arts and crafts. I learned about how public installation artists draw attention to their work, and so on. There were classes on graffiti and expression, typography, fine art… and those lessons are priceless. They were a nudge in the right direction. Without someone to teach me about them, I would not have found out about these topics for years.<br />
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On the other hand, to get any jobs, I had to lock myself in a room and put hours upon hours into practicing art. It’s something you just have to do to get to the next level of art, and it’s something college just doesn’t quite nurture.<br />
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So I cannot give a definitive answer on college. I was either fascinated by the subjects presented at classes or hated myself for being there instead of sitting at home and practicing drawing.<br />
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After college, I took a year off to work on and perfect my craft: drawing, painting, designing… After that I took on whatever freelance job I could find, then found work at indie studios, and gradually ended up at more known studios. This was a turning point in my career, because I realized I was playing in the big league now. One day you’re someone’s groupie and the next day you’re working with them.<br />
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Every time I connect with a studio or professional I’ve respected for a long time, my energy meter is filled for a long time. I feel the burst of stamina and will to work out of nowhere, like an energy blast. It’s my muse, really. It is the reason I’m fortunate to say that every day may turn out better than yesterday.<br />
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And then one day Frictional contacted me because of an email I had sent a long time ago, saying they wanted me for a work test. I passed, and so the journey in Secret Project #1 began. I didn’t know it yet, but it was about to be a wild ride!<br />
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<span style="font-size: x-large;"><b>My life at Frictional</b></span><br />
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I started at Frictional as a full-time concept artist. All the briefings were cool, interesting and creatively demanding. Working full-time meant I could work on what I liked all day. There was never a day where I thought <i>gee, I wish I could work on something else instead</i>. Soon I was working on props for pretty much all the levels on the project, then moved to characters, then environments – and now I do pretty much anything that comes my way.<br />
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When it comes to my work, I try to bring my sense of graphic design into the aesthetics and my experiences into storytelling. I also like to think in analogies, metaphors and jokes, which I like to sneak into the designs. I feel like every concept has capacity to be something more than just itself or what it looks like at first glance. So I try to add some substance, work on aspects of what the concepts stand for, and make sure they’re not too literal or easy.<br />
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Besides that, I love studying and getting all into different subjects, as there is more chance of finding valuable things the deeper you dive. I draw diagrams, study anomalies of human DNA that can be used in monster designs, consume culture and subculture, capture accidents to use in a different context, experiment and drift, love my experiments as I would an ugly child, delay criticism and judgement.<br />
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I do a lot of work where I’m focused on details and injecting story elements into the props, environments and other bits of the world. While working, I have recalled some of my memories related to Dark Messiah. In the game there was a statue in a haunted necropolis that you could choose to interact with. It read something like: “Here likes cursed so and so. For his crimes against the king, let his torment be eternal.” It is a really trivial detail and I am probably among the 1% of players that noticed it, but it just added a lot of believability to the world.<br />
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A lot of these romantic ideas and memories I have about games are blurry at best and inaccurate at worst. But they are something I gravitate towards when making my art. I study what other games have done well, find out why these things work, then adapt the formula to my own work.<br />
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I could go on about my favorite comics, films and games. But to be honest, every time I pick up a new book, game or film, there is a possibility that it will leave me with a long-lasting memory. And for me, that is very exciting.<br />
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Like most people at Frictional, I work from home – and in my case it happens to be the sunny Porto in Portugal. Here I have my work sanctuary, aka my office, where all the art making process happens.<br />
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My desk and setup are something I’m proud of. It’s just tech, but because I built it myself, there’s another level of affection I have for the tools. It must be a nerdy thing. Besides the obvious hardware my setup sometimes has a book or a magazine on graphic design, a ball or a fidget spinner to play with while I’m analyzing references or trying to focus mid-brainstorming. Simply reading a couple of paragraphs between drawings or throwing the ball at a wall for a few minutes is enough to get all the parts of my brain working again.<br />
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Which leads me to my last point: I want to close this with advice to aspiring video game artists. Sometimes us industry people are too serious and forget to have fun. We forget we’re making games. A lot of times artists tend to copy what is popular in the industry, which is fine, but there is also a whole world out there to get influence from. Following in line with the entertainment industry will only get you so far. I find that the art that I actually stop to look at for more than three seconds is the kind of art where the artist is communicating something unique to them, something only they can say – not a copy of a copy of a copy.<br />
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The bandwidth of the world is much broader than what you can get through your internet connection or TV set. Get some inspiration from unlikely places: graffiti, typography, furniture design and fashion, nature, travel… Everything has the power to amplify what knowledge you already have and show you entirely new avenues of exploration.<br />
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That's it! Thanks for reading!<br />
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If you’re interested in following my work, you can find me here:<br />
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insta: <a href="https://www.instagram.com/miguelnogueira.art/">https://www.instagram.com/miguelnogueira.art/</a><br />
twitter: <a href="https://twitter.com/ignitionchemist">https://twitter.com/ignitionchemist</a><br />
site: <a href="http://www.miguel-nogueira.com/">www.miguel-nogueira.com</a><br />
artstation: <a href="https://www.artstation.com/migno">https://www.artstation.com/migno</a></div>
Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-9193968969153274146.post-86102929190258742472018-10-15T17:42:00.001+02:002018-10-18T13:47:04.381+02:00Hiring: Project-based 3D Artist<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5yFnlzPIFCHYbl95K1ZJTPTWZysSk52DhftplvgRvrsGAB30xJgsxd8jNq30l_w1PCzxkFd7qLSSZNeKMzShGFQh2PXC-1BbVNST4ypRwqkiqNfzlv0IWmgbJrXMP3nXLffetZsN0UcWc/s1600/3d+artist+ad.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="512" data-original-width="1024" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5yFnlzPIFCHYbl95K1ZJTPTWZysSk52DhftplvgRvrsGAB30xJgsxd8jNq30l_w1PCzxkFd7qLSSZNeKMzShGFQh2PXC-1BbVNST4ypRwqkiqNfzlv0IWmgbJrXMP3nXLffetZsN0UcWc/s400/3d+artist+ad.png" width="400" /></a></div>
<b><br /></b>
<b><br /></b>
<b>Title:</b> 3D artist<br />
<b>Focus:</b> Polishing environments and props<br />
<b>Type:</b> Full-time, project-based (approx. 1 year)<br />
<b>Last day to apply:</b> 4th of November 2018<br />
<br />
<br />
After 3 years of hard work, we are now close to finishing one of our new games. We want it to look amazing, and to accomplish that we need more (hu)manpower.<br />
<br />
This is where you come in.<br />
<br />
We are now looking for an experienced 3D artist, who will focus on environments and props for our upcoming horror game. Our ideal person loves horror, and is able to convey atmospheric environments and terrifying scenes through 3D art. The position is full-time and project-based, lasting for about a year until the new game is ready to be shipped.<br />
<br />
<br />
<b><span style="font-size: x-large;">What will you work on?</span></b><br />
<br />
We are quite a small team, but we consider that our strength. As an environment artist you will get to work on every level of the game, ranging from small props to whole levels. This means your contribution will greatly influence how the final game looks, plays, and evokes emotions.<br />
<br />
Here are some of the things you will be working on:<br />
<ul>
<li>Creating basic models that make up the levels, such as walls and floors</li>
<li>Modelling props of various complexity, both with and without the help of concept art, and often having to take gameplay concerns into account</li>
<li>Constructing particle systems, both by drawing textures and using parameters in our editor</li>
<li>Combining various techniques to create special effects, such as flowing water or fire.</li>
</ul>
<br />
If you want to know more about Frictional work practices, you can check out the introduction post of <a href="https://frictionalgames.blogspot.com/2014/01/people-of-frictional-rasmus-gunnarsson.html">Rasmus</a>, who will be your closest teammate.<br />
<br />
<br />
<b><span style="font-size: x-large;">What are we looking for?</span></b><br />
<br />
<b>You have to be a EU/EEA resident to apply.</b><br />
<br />
The person we’re looking for is creative, driven and most importantly self-sufficient.<br />
<br />
Since the position is project-based, we are looking for a person who can start as soon as possible, end of November the latest.<br />
<br />
Here are some essential skills we require:<br />
<ul>
<li>Excellent skills at adapting to a style and taking it to a finished state</li>
<li>Strong self-drive and ability to organise your own work</li>
<li>Interest in and ability to do research for interesting prop and environment solutions</li>
<li>Love for working on a variety of tasks</li>
<li>Fluency in English</li>
<li>Team communication skills</li>
<li>Knowledge of game design</li>
<li>A Windows PC that runs recent games (such as SOMA) that you can use for work (unless you live in Malmö and will work from the office)</li>
<li>A fast and stable internet connection.</li>
</ul>
And here are some more techie skills:<br />
<ul>
<li>Excellent skills in 3D software. Modo preferred</li>
<li>Familiarity with Zbrush/Mudbox/similar</li>
<li>Excellent skills in Substance</li>
<li>Excellent skills in Photoshop or similar software</li>
<li>Familiarity with issue-tracking software</li>
<li>Experience in classic/non-PBR workflow.</li>
</ul>
If you want to impress us:<br />
<ul>
<li>Love for horror and narrative games</li>
<li>A major role in completing at least one game</li>
<li>Great free-drawing skills</li>
<li>Experience in level design</li>
<li>Strong game design skills</li>
<li>Experience kitbashing/working with modular sets.</li>
</ul>
For this position you can work from home. We have a central hub in Malmö, Sweden, which you can use if you wish.<br />
<br />
<br />
What we offer:<br />
<ul>
<li>Flexible working hours, a no-crunch approach</li>
<li>Opportunities to influence your work flow</li>
<li>Variety in your work tasks, and ability to influence your work load</li>
<li>Participation in Show & Tell of games, having a say in all aspects of the game making</li>
<li>An inclusive work environment</li>
<li>A possibility to become a permanent employee.</li>
</ul>
<br />
<b><span style="font-size: x-large;">How to apply?</span></b><br />
<br />
If all of the above piqued your interest, we would love to hear from you! Send us your application <b>4th of November the latest </b>- but the sooner, the better.<br />
<br />
<b>Please attach all the following:</b><br />
<ul>
<li>Cover letter (why you should work with us, what do you bring to the table)</li>
<li>CV</li>
<li>Portfolio (link or PDF)</li>
<li>Examples of works that have inspired you or blown you away.</li>
</ul>
Please notice that you need to send all of the applications to be considered.<br />
<br />
Send your application to apply@frictionalgames.com!<br />
<br />
<br />
<div>
<b><span style="font-size: large;">Privacy Policy</span></b><br />
<b><span style="font-size: large;"><br /></span></b>
By sending us your application, you give us permission to store your personal information and attachments.<br />
<br />
We store all applications in a secure system. The applications are stored for two years, after which they are deleted. If you want your your information removed earlier, please contact us through our <a href="https://www.frictionalgames.com/site/contact" target="_blank">Contact form</a>. Read more in our <a href="https://www.frictionalgames.com/site/privacypolicy" target="_blank">Privacy Policy</a>.</div>
Unknownnoreply@blogger.com8tag:blogger.com,1999:blog-9193968969153274146.post-24244395668260886042018-10-10T13:48:00.000+02:002018-10-10T13:48:04.162+02:00Hiring: Tools Programmer<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6iSS1hG6ZvlQSGZJukS_KsXWEgMQtGIr_8jgCBm7o-9JwxNtOMHgjfuzONoju1APTRPmSUzia1ZcVpDc0cPPpHmB2oIAxIXoL81Oo0MzOwdTLIkKfAdwxc7_lXjC5OZ8yyofQW5Or-7GY/s1600/tools+programmer+ad.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="848" data-original-width="1600" height="211" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6iSS1hG6ZvlQSGZJukS_KsXWEgMQtGIr_8jgCBm7o-9JwxNtOMHgjfuzONoju1APTRPmSUzia1ZcVpDc0cPPpHmB2oIAxIXoL81Oo0MzOwdTLIkKfAdwxc7_lXjC5OZ8yyofQW5Or-7GY/s400/tools+programmer+ad.png" width="400" /></a></div>
<br />
<br />
<b>Title:</b> Tools programmer<br />
<b>Focus:</b> Engine<br />
<b>Type: </b>Full-time, permanent<br />
<b>Last day to apply:</b> 30th of October 2018<br />
<br />
<br />
Tired of the constraints of Unity, Unreal and other big engines? Want to be in control and get down into the nitty gritty of engine coding? Come join us at Frictional Games, one of the few companies that still makes their own tech, and get all up in our HPL engine!<br />
<br />
We are now expanding our tech team and looking for a tools programmer who will help make the HPL engine better, prettier, and more intuitive. Your work on the engine will be crucial to the rest of the team, but it will also be seen by our modding community.<br />
<br />
The position is full-time and permanent. Ideally we would help you relocate to Malmö, Sweden to be close to our core team, but this is not a necessity.<br />
<br />
<br />
<b><span style="font-size: x-large;">What will you work on?</span></b><br />
<br />
As a tools programmer, you will be working together with a small tech team that is mainly responsible for our HPL engine, but also tech support for the games.<br />
<br />
Here are some of the things you will find yourself working on:<br />
<ul>
<li>Creating and maintaining the level editor for our proprietary engine</li>
<li>Making intuitive user interfaces</li>
<li>Creating small specialised tools</li>
<li>Working with low-level systems such as IO, AI, rendering, sound, and physics</li>
<li>Working with Xbox and PlayStation versions, as well as possible future platforms</li>
<li>Internal support for a team of developers</li>
<li>Post-launch support.</li>
</ul>
We also encourage working outside of your area of expertise, and always learning new things. The more areas of development you are willing and able take part in, the better!<br />
<br />
If you want to know more about Frictional work practices, you can check out the introduction posts of <a href="https://frictionalgames.blogspot.com/2014/08/people-of-frictional-peter-wester.html">Peter</a> and <a href="https://frictionalgames.blogspot.com/2014/05/people-of-frictional-luis-rodero.html">Luis</a>, who will be your closest teammates.<br />
<br />
<br />
<b><span style="font-size: x-large;">What are we looking for?</span></b><br />
<br />
<b>You have to be a EU/EEA resident to apply.</b><br />
<br />
The person we’re looking for is creative, driven and self-sufficient.<br />
<br />
Here are some essential skills we require:<br />
<ul>
<li>Well-versed in C++, C#, Java, or similar</li>
<li>Knowledge in AngelScript, Python, Lua, or similar</li>
<li>You have created an engine or tools for development for at least one game</li>
<li>Strong low-level programming skills</li>
<li>Familiar with linear algebra</li>
<li>Knowledge in working with Widgets / Custom GUI</li>
<li>Fluency in English</li>
<li>Skills in team communication and support</li>
<li>A Windows PC that runs recent games (such as SOMA) that you can use for work (unless you live in Malmö and will work from the office)</li>
<li>A fast and stable internet connection.</li>
</ul>
<br />
These will be considered a plus:<br />
<ul>
<li>Experience in engine development</li>
<li>Skills in 3D modelling or texture applications</li>
<li>Knowledge in UX design</li>
<li>Lover for tech and messing with the low level parts of the engine</li>
<li>Excitement for creating fast pipelines and making it easy to create awesome art</li>
<li>You live in Sweden.</li>
</ul>
<br />
<b><span style="font-size: x-large;">What do we offer?</span></b><br />
<br />
We are a small team, which means you will be able to work on a wide variety of things and contribute to our future games in a meaningful way.<br />
<br />
We also believe a healthy balance between work and life reflects positively on your work. We offer a variety of perks for our full-time employees, especially who live in or relocate to Sweden. We also don’t encourage crunch.<br />
<br />
Here’s what we offer:<br />
<ul>
<li>Flexible working hours</li>
<li>Opportunities to influence your workflow</li>
<li>Variety in your work tasks, and ability to influence your workload</li>
<li>Participation in our internal game Show & Tell sessions, so you’ll have input into all aspects of the game</li>
<li>Social security and holidays that are up to the Swedish standards</li>
<li>An inclusive and respectful work environment</li>
<li>An office in central Malmö you can use as much as you please</li>
<li>Fun workmates, game and movie nights, and other outings!</li>
</ul>
<br />
<b><span style="font-size: x-large;">How to apply?</span></b><br />
<br />
Did the position pique your interest? Are you the person we’re looking for? Then we would love you hear from you!<br />
<br />
We will be looking at applications until 30th of October 2018.<br />
<br />
<b>Please send us your:</b><br />
<ul>
<li><b>Cover letter (why you should work with us, what do you bring to the table)</b></li>
<li><b>CV</b></li>
<li><b>Portfolio (or links to your works)</b></li>
</ul>
Send your application to <b>apply@frictionalgames.com</b>!<br />
<br />
<br />
<br />
<b><span style="font-size: large;">Privacy Policy</span></b><br />
<b><span style="font-size: large;"><br /></span></b>
By sending us your application, you give us permission to store your personal information and attachments.<br />
<br />
We store all applications in a secure system. The applications are stored for two years, after which they are deleted. If you want your your information removed earlier, please contact us through our <a href="https://www.frictionalgames.com/site/contact" target="_blank">Contact form</a>. Read more in our <a href="https://www.frictionalgames.com/site/privacypolicy" target="_blank">Privacy Policy</a>.<br />
<div>
<br /></div>
Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-9193968969153274146.post-9599207250102730352018-09-21T15:00:00.000+02:002019-03-12T14:27:58.624+01:00What is Amnesia’s Hard Mode?<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWxdmGrRym9BJKNaQSHdzHMyA6kEC8gaBcXJzmqqJ0lvR5vNVWFhQLKlOUXNFLKG4nOi8RT99aYDbN8cJW617FoFvanpyNrHFGjThZT1AbQ1aB8DoOuuvTpp1d-TdWOp2buL6-PbGFaDq5/s1600/hardmode_final.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="633" data-original-width="1200" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWxdmGrRym9BJKNaQSHdzHMyA6kEC8gaBcXJzmqqJ0lvR5vNVWFhQLKlOUXNFLKG4nOi8RT99aYDbN8cJW617FoFvanpyNrHFGjThZT1AbQ1aB8DoOuuvTpp1d-TdWOp2buL6-PbGFaDq5/s400/hardmode_final.jpg" width="400" /></a></div>
<span id="goog_1179195980"></span><span id="goog_1179195981"></span><br />
<br />
A year ago we brought <a href="https://www.microsoft.com/en-us/p/soma/c23m2tc1zfpj">SOMA</a> to the Xbox One, and along with it the <a href="https://frictionalgames.blogspot.com/2017/11/what-is-somas-safe-mode.html">Safe Mode</a>. The optional mode removed the hostility of enemies and let players explore Pathos-II in relative peace. Most players were pleased with it, and at best it meant that players that hadn’t dared to traverse the Atlantic ocean floor before now had a chance to experience it.<br />
<br />
Now finally releasing the <a href="https://www.microsoft.com/en-us/p/amnesia-collection/bv02tbl15dx3">Amnesia: Collection on Xbox One</a>, and decided to also spice it up with a little treat. We bring you the polar opposite of the Safe Mode: the Hard Mode!<br />
<br />
<b>Amnesia: Collection will be released on Xbox One on the 28th of September, after which the mode will be available on Xbox and PC.</b><br />
<br />
<br />
<span style="font-size: x-large;"><b>What is the Hard Mode?</b></span><br />
<br />
It is really just as the title suggests: a mode that makes it harder to beat the game. You know, in case The Dark Descent wasn’t stressful enough for you.<br />
The Hard Mode has the following features:<br />
<br />
- Autosaves are disabled, and manual saving costs 4 tinderboxes<br />
- Sanity dropping to zero results in death<br />
- Less oil and tinderboxes throughout the levels<br />
- Monsters are faster, spot the player more easily, deal more damage and stay around for longer<br />
- There is no danger music when the monsters are near.<br />
<br />
So in summary: the environments are harsher, the monsters more unforgiving, insanity is deadly, and death is final – unless you pay a toll.<br />
<br />
You can pick between normal mode and Hard Mode when starting a new game of Amnesia: The Dark Descent. The mode changes some fundamental elements of the game, and therefore can’t be changed halfway through.<br />
<br />
A Machine for Pigs and Justine do not feature this mode.<br />
<br />
<br />
<b><span style="font-size: x-large;">How does this affect achievements/trophies?</span></b><br />
<br />
Beating the game on Hard Mode will earn you a new trophy called Masochist. Because, you know, you pretty much have to be one to complete the mode.<br />
<br />
The mode affects the Illuminatus achievement, which you can’t get during playing in Hard Mode as it reduces the amount of tinderboxes throughout the level.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQPOy9sn_ljYW4J3QujdiqIG_F3q-5ZSt1iHDBGRpOwNXBD5J7Vki2HKFM_Go5zuI8bwUPzrtG-P7VsZFdz830uFoIfAib800IJGRQ8kSW1fY3FFca_TwYWIyYXmZiCqEUfTcQBYFLKk14/s1600/trop024_large.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1000" data-original-width="1000" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQPOy9sn_ljYW4J3QujdiqIG_F3q-5ZSt1iHDBGRpOwNXBD5J7Vki2HKFM_Go5zuI8bwUPzrtG-P7VsZFdz830uFoIfAib800IJGRQ8kSW1fY3FFca_TwYWIyYXmZiCqEUfTcQBYFLKk14/s200/trop024_large.png" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Masochist achievement.</td></tr>
</tbody></table>
<br />
<b><span style="font-size: x-large;">Will it be on all platforms?</span></b><br />
<br />
Yes! The Hard Mode will launch on Xbox and PC versions (Steam, GOG, Humble Bundle) simultaneously. We have started working on the PS4 version with our porting partner, and hope to have it out soon.<br />
<br />
<b>Extra</b><br />
<b><br /></b>
Want a Hard Mode wallpaper? Download a 4K version with and without the logo on our <a href="https://drive.google.com/drive/folders/1aOlNOHyd7T3M4Pl9Cqlot4G-h2XGucwU">public Drive folder</a>.<br />
<div>
<br /></div>
Unknownnoreply@blogger.com42tag:blogger.com,1999:blog-9193968969153274146.post-12350227136229909432018-07-16T18:51:00.000+02:002018-07-16T18:53:33.367+02:00Celebrating the 30th birthday of Simon Jarrett<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTxFuNJUrCdI47roXAQj1Zytc6ZqKC0Sys3XxpNQiZgoBoJnhXZXZOqVQ3IA3zOfD-15ri5bfL8fTO1HLrWPGaQ7xN0TIINInnE-oQRTrxYnIgbIlZmEKRaTjQlhhgo3RBemCVsl1G_TGn/s1600/tumblr_or5ifnZwZR1vmlcaho1_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="710" data-original-width="1128" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTxFuNJUrCdI47roXAQj1Zytc6ZqKC0Sys3XxpNQiZgoBoJnhXZXZOqVQ3IA3zOfD-15ri5bfL8fTO1HLrWPGaQ7xN0TIINInnE-oQRTrxYnIgbIlZmEKRaTjQlhhgo3RBemCVsl1G_TGn/s400/tumblr_or5ifnZwZR1vmlcaho1_1280.jpg" width="400" /></a></div>
<br />
<br />
Today, the 16th of July 2018, Simon Jarrett would have turned 30. He never quite made it, the proposed treatment for his brain damage proving ineffective.<br />
<br />
And yet he did. <i>A</i> Simon Jarrett made it to the ARK, facing eternity among the stars. Another(s), infinity below the sea, at least as long as the batteries last. But he didn't just live, he left a legacy. His scan, for a generation of programmers to use. The ARK, preserving humanity until the Sun burns out.<br />
<br />
And you.<br />
<br />
Simon lives on in every fanart, every mixtape and cosplay. He gets a different story in a fanfic, be it finding a cure, finding love, sometimes dying, yet still living on through those moments. You have taken him well beyond 4.0, and for that we are thankful.<br />
<br />
As a small celebration we have collected 30 of some our favourite fan works of Simon, one for each year since his birth. In all honesty 30 is an arbitary number, a cutoff point to keep this post from being far too long. We love each and every one of your fan creations, as well as mods, meta commentary and even just coming together as a community.<br />
<br />
From us, and from Simon: thank you!<br />
<br />
PS. If you want to see more fan creations from SOMA, Amnesia games and Penumbra, we have an <a href="https://frictionalgames.tumblr.com/">official Tumblr blog</a> where we have collected your works from Tumblr, Twitter, Instagram and Deviantart. The blog updates daily! (We might not have found your work, so please tag us on social media, or send us a message!)<br />
<b><span style="font-size: x-large;"><br /></span></b>
<b><span style="font-size: x-large;">Cosplay and art by Zerachielamora</span></b><br />
<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/7kebJGttvWc" width="560"></iframe>
</div>
<div class="tumblr-post" data-did="4a06ef98c5765098107650579a8be56738503be2" data-href="https://embed.tumblr.com/embed/post/uZIhuVyGDGNepQVmtyVHgQ/145715347791">
<a href="http://zerachielamora.tumblr.com/post/145715347791/part-one-of-my-soma-photoshoot-the-shots-came">http://zerachielamora.tumblr.com/post/145715347791/part-one-of-my-soma-photoshoot-the-shots-came</a></div>
<script async="" src="https://assets.tumblr.com/post.js"></script>
<br />
<div class="tumblr-post" data-did="62e6ace6f4ce3f2910691f433d1d406c4614a27d" data-href="https://embed.tumblr.com/embed/post/uZIhuVyGDGNepQVmtyVHgQ/149452596636">
<a href="http://zerachielamora.tumblr.com/post/149452596636/did-someone-say-humansimon-jarrett-cosplay-i-put">http://zerachielamora.tumblr.com/post/149452596636/did-someone-say-humansimon-jarrett-cosplay-i-put</a><br />
<br /></div>
Zerachieamora is one of the top creators in our community, having done cosplays of all our protagonists, as well as having time to run ask blogs and make art. Their stuff always has top-notch detail and creativity. We certainly hope our next protagonist will be cool enough to inspire them to make another cosplay!<br />
<br />
You can also find Zerachielamora on <a href="https://twitter.com/zerachielamora" target="_blank">Twitter</a>, <a href="https://www.instagram.com/zerachielamora/" target="_blank">Instagram</a> and <a href="https://www.deviantart.com/zerachielamora" target="_blank">Deviantart</a>.<br />
<br />
Okay, okay, almost done with the praise! Just one more thing we loved:<br />
<br />
<div class="tumblr-post" data-did="d9f03d0dfc5ef93d1958a2a13dec1b330fcb9e5c" data-href="https://embed.tumblr.com/embed/post/uZIhuVyGDGNepQVmtyVHgQ/131937553916">
<a href="http://zerachielamora.tumblr.com/post/131937553916/soma-meets-undertale">http://zerachielamora.tumblr.com/post/131937553916/soma-meets-undertale</a></div>
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<span style="font-size: x-large;"><b>Art by Sketchinfun</b></span><br />
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<div class="tumblr-post" data-did="24152d8b02291d3addab0f6445d9ef1762828cf5" data-href="https://embed.tumblr.com/embed/post/Ly9Y8osEnOOtu4IsyXO_xA/132244987837">
<a href="http://sketchinfun.com/post/132244987837/in-between-boarding-today-i-decided-to-do-some">http://sketchinfun.com/post/132244987837/in-between-boarding-today-i-decided-to-do-some</a><br />
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Sketchinisfun has made a lot of awesome contributions to the fandom, such as <a href="http://sketchinfun.com/post/132636715637/i-can-carry-you-end-day-fast-warm-downs-of-simon" target="_blank">Tiny</a> <a href="http://sketchinfun.com/post/132946976197/i-couldnt-decide-what-to-draw-for-my-warm-up" target="_blank">Catherine</a>, but this animation has to be our favourite - everyone knows just how much dedication that requires!<br />
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We also can't help but appreciate their take on Simon and Catherine's voice actors' coping mechanisms (which we cannot officially endorse):<br />
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<div class="tumblr-post" data-did="f5aed2e149804c665cb2fc13e468e2e20eba6af2" data-href="https://embed.tumblr.com/embed/post/Ly9Y8osEnOOtu4IsyXO_xA/132159275532">
<a href="http://sketchinfun.com/post/132159275532/felt-like-drawing-some-silly-screen-cap-redraws-of">http://sketchinfun.com/post/132159275532/felt-like-drawing-some-silly-screen-cap-redraws-of</a><br />
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<b style="font-size: xx-large;">Art by lumipaiio</b></div>
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<div class="tumblr-post" data-did="586aa0f12a61fb57fcee32df18e2bba502ade27b" data-href="https://embed.tumblr.com/embed/post/oiR_KWupmgWRxoHaFQxNxQ/167990722451">
<a href="http://lumipaiio.tumblr.com/post/167990722451">http://lumipaiio.tumblr.com/post/167990722451</a></div>
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<div class="tumblr-post" data-did="0d56ed9a0537e0716f49ebf0f5b3bb548cec6a65" data-href="https://embed.tumblr.com/embed/post/oiR_KWupmgWRxoHaFQxNxQ/142199605996">
<a href="http://lumipaiio.tumblr.com/post/142199605996/am-i-the-only-one-who-went-to-the-wrong-elevator">http://lumipaiio.tumblr.com/post/142199605996/am-i-the-only-one-who-went-to-the-wrong-elevator</a><br />
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Lumipaiio's forté is drawing incredibly dynamic Simons and Catherines. Just look at him go! It is so hard to pick a favourite!<br />
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Lumipaiio have also drawn an incredible concept called <a href="http://lumipaiio.tumblr.com/post/155315531731" target="_blank">Leggy Catherine</a>, among other things.<br />
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<b><span style="font-size: x-large;">Plushie by DonutTyphoon</span></b><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiARI5DM1UjKFcaG9fInylN-MEcFsswNJg_tIsJMk9RzyTjKY6JW8ih06vw-iIiFWuxSYjuzhb15P3YLZMw4TyJ70F_N4Tv-GhF4bukPdX9SsNQsNrbV1HsbEn9JdJIKLbePNf7Om1W0Koe/s1600/simon_jarrett_plush_by_donuttyphoon-dahjjcm.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="960" data-original-width="832" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiARI5DM1UjKFcaG9fInylN-MEcFsswNJg_tIsJMk9RzyTjKY6JW8ih06vw-iIiFWuxSYjuzhb15P3YLZMw4TyJ70F_N4Tv-GhF4bukPdX9SsNQsNrbV1HsbEn9JdJIKLbePNf7Om1W0Koe/s400/simon_jarrett_plush_by_donuttyphoon-dahjjcm.jpg" width="346" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.deviantart.com/donuttyphoon/art/Simon-Jarrett-Plush-634126774">https://www.deviantart.com/donuttyphoon/art/Simon-Jarrett-Plush-634126774</a></td></tr>
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It's cute! It's small! It glows in the dark! It's a perfect boy.<br />
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<b><span style="font-size: x-large;">Animation by Rabbitintheheadlights</span></b><br />
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<div class="tumblr-post" data-did="e1577bd755088cf6afb2ca4729127bf854984c72" data-href="https://embed.tumblr.com/embed/post/VPpB4dDfq80_ZFkeibg-7w/136645293417">
<a href="http://rabbitinheadlights.tumblr.com/post/136645293417">http://rabbitinheadlights.tumblr.com/post/136645293417</a><br />
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Rabbitintheheadlights is asking the right questions. Note how we don't have mirrors in the early game?<br />
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<b><span style="font-size: x-large;">Art by Bardicles</span></b><br />
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<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/Bf9WRJfhqa9/" data-instgrm-version="9" style="background: #fff; border-radius: 3px; border: 0; box-shadow: 0 0 1px 0 rgba(0 , 0 , 0 , 0.5) , 0 1px 10px 0 rgba(0 , 0 , 0 , 0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: 99.375%;">
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<a href="https://www.instagram.com/p/Bf9WRJfhqa9/" style="color: black; font-family: "arial" , sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">Here are Simon and most mockingbirds from soma. There's a few more I will add if I remake this on my computer. Im not even going to try on my phone. For anyone who doesn't know, mockingbirds are basically crazy robots that think they're people (for the most part). Don't know for sure if the cute k8 bot is a mockingbird but there is evidence to prove it #frictionalgames</a></div>
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A post shared by <a href="https://www.instagram.com/bardicles/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" target="_blank"> Lizzy</a> (@bardicles) on <time datetime="2018-03-05T22:37:43+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Mar 5, 2018 at 2:37pm PST</time></div>
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Bardicles draws the cutest little Simons, and keeps us entertained with their <a href="https://www.instagram.com/p/BgXJTilHdmX/">short</a> <a href="https://www.instagram.com/p/BaIfEBrnHuH/">comics</a>!<br />
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<b><span style="font-size: x-large;">Art by Shaidis</span></b><br />
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<div class="tumblr-post" data-did="2b237aafb9715c34e6bfe660c4e97033945538ab" data-href="https://embed.tumblr.com/embed/post/qyhc-C5NhRbBmlCr1w7lKw/130194112902">
<a href="http://shaidis.tumblr.com/post/130194112902/heading-to-tau">http://shaidis.tumblr.com/post/130194112902/heading-to-tau</a></div>
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One of our favourite levels deserves some love, and Shaidis delivers! This piece is beautiful, and it is no wonder it shows up whenever you search for SOMA fanart.<br />
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<span style="font-size: x-large;"><b>Art by Rennerei</b></span><br />
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<div class="tumblr-post" data-did="a40133b8e2f46f4c5e644bb066668d7a0835fc01" data-href="https://embed.tumblr.com/embed/post/YRyvpWJEuHccCyqrrn7RnQ/140112671336">
<a href="http://rennerei.tumblr.com/post/140112671336">http://rennerei.tumblr.com/post/140112671336</a></div>
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Is it a screenshot? Nope, just Rennerei working their magic!<br />
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This pick might be biased as our community manager has followed Rennerei since the early TBFP/Motorcity/TF2 days. It is truly inspiring to work on something, and then receive fanart from someone you admire.<br />
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You can also find Maren on <a href="https://twitter.com/rennerei" target="_blank">Twitter</a> and <a href="https://www.instagram.com/rennerei/" target="_blank">Instagram</a>.<br />
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<b><span style="font-size: x-large;">Pixel art by Adam Joe Pajor</span></b><br />
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<blockquote class="twitter-tweet" data-lang="en">
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Simon Jarrett<br />
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Fixed a few things...<a href="https://twitter.com/hashtag/pixelart?src=hash&ref_src=twsrc%5Etfw">#pixelart</a> <a href="https://twitter.com/hashtag/SOMA?src=hash&ref_src=twsrc%5Etfw">#SOMA</a> <a href="https://twitter.com/hashtag/gamedev?src=hash&ref_src=twsrc%5Etfw">#gamedev</a> <a href="https://twitter.com/frictionalgames?ref_src=twsrc%5Etfw">@frictionalgames</a> <a href="https://t.co/z6HMCbTTQN">pic.twitter.com/z6HMCbTTQN</a></div>
— Adam *Joe* Pajor (@JoeJoePajor) <a href="https://twitter.com/JoeJoePajor/status/711925621534883840?ref_src=twsrc%5Etfw">March 21, 2016</a></blockquote>
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Adam has done various cool pixel art pieces from SOMA, as well as Amnesia, which you should definitely check out in their <a href="https://cpupixelart.tumblr.com/tagged/Frictional-Games" target="_blank">Frictional tag on Tumblr</a>.<br />
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You can also find Adam on <a href="https://www.facebook.com/approjects" target="_blank">Facebook</a>!<br />
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<b><span style="font-size: x-large;">Art by Dospeh</span></b><br />
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<div class="tumblr-post" data-did="da39a3ee5e6b4b0d3255bfef95601890afd80709" data-href="https://embed.tumblr.com/embed/post/QUB6eI_GgMRh1YVxw0n-Qg/161279516189">
<a href="http://dospeh.tumblr.com/post/161279516189">http://dospeh.tumblr.com/post/161279516189</a><br />
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Doseph has made an incredible set of all our major protagonists that you can find in their <a href="http://dospeh.tumblr.com/tagged/Frictional-Games" target="_blank">Frictional Games tag</a>. The detail, atmosphere and claustrophobia in the works is astonishing.<br />
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You can also follow them on <a href="https://www.instagram.com/artfromdospeh/" target="_blank">Instagram</a>.<br />
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<b><span style="font-size: x-large;">Art by Fayren</span></b><br />
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<div class="tumblr-post" data-did="1c1b1341315024099eab2b2145048160d80b7e51" data-href="https://embed.tumblr.com/embed/post/lb6jeEs83eDtQ-v4BFG2RA/130086660988">
<a href="http://monsterboysandrobots.com/post/130086660988/soma-just-rip-out-my-heart-and-drop-it-in-the">http://monsterboysandrobots.com/post/130086660988/soma-just-rip-out-my-heart-and-drop-it-in-the</a></div>
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Fayren does amazing original work, but it is an honour that they took time to create fanart for us.<br />
They has also made another piece of <a href="https://www.instagram.com/p/8WuErZwLn8/" target="_blank">SOMA fanart</a> that we have up on our <a href="https://www.instagram.com/p/Bf8oMrcl2VI/?taken-by=frictionalgames" target="_blank">wall in the Malmö office</a>.<br />
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You can also follow Fayren on <a href="https://twitter.com/fayren">Twitter</a>.<br />
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<b><span style="font-size: x-large;">Art by Mcfudgie</span></b><br />
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<div class="tumblr-post" data-did="9ae4f899c5a84e9bec28c37290857f6cbb268816" data-href="https://embed.tumblr.com/embed/post/Ufn-kRgw43EW7mESJ6uFLA/132701364480">
<a href="http://mcfudgie.tumblr.com/post/132701364480/simon-contemplates-on-the-important-things-like">http://mcfudgie.tumblr.com/post/132701364480/simon-contemplates-on-the-important-things-like</a></div>
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<i>Sick.</i><br />
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We're serious developers, but not too serious to enjoy some light-hearted wall punching! This is what any of us would do, isn't it?<br />
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<b><span style="font-size: x-large;">Art by KylieRusek</span></b><br />
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<div class="tumblr-post" data-did="dee206bfd7fea0f37b026dca56b81636a2bb0f72" data-href="https://embed.tumblr.com/embed/post/czo7748BxfwfBhqn-clkzg/132754459129">
<a href="http://kylierusek.tumblr.com/post/132754459129/i-love-this-game-so-much-hhh">http://kylierusek.tumblr.com/post/132754459129/i-love-this-game-so-much-hhh</a></div>
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Watch out, Simon, you're glitching out! Looking at your hands won't help you escape <i>this</i> nightmare.<br />
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You can find more art by KylieRusek on <a href="https://twitter.com/kylierusek">Twitter</a> and <a href="https://www.instagram.com/kylierusek/">Instagram</a>.<br />
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<span style="font-size: x-large;"><b>Art by Wachtelspinat</b></span><br />
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<div class="tumblr-post" data-did="d5ba974e659dc84909b6991145ee26b948bf8150" data-href="https://embed.tumblr.com/embed/post/iXDlVpMZpOoIYj4ymijNqA/137309260311">
<a href="http://wachtelspinat.tumblr.com/post/137309260311/so-we-played-soma-at-new-years-eve-and-i-didnt">http://wachtelspinat.tumblr.com/post/137309260311/so-we-played-soma-at-new-years-eve-and-i-didnt</a></div>
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<div class="tumblr-post" data-did="0e5f64d01809e9fa42587be63f84188c2cb34720" data-href="https://embed.tumblr.com/embed/post/iXDlVpMZpOoIYj4ymijNqA/137579288681">
<a href="http://wachtelspinat.tumblr.com/post/137579288681/friends-yy">http://wachtelspinat.tumblr.com/post/137579288681/friends-yy</a></div>
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These are some good, chunky boys - thank you Wachtelspinat! Knowing Simon, he would probably own that hoodie.<br />
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<b><span style="font-size: x-large;">Cosplay by that-handmaid</span></b><br />
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<div class="tumblr-post" data-did="2a064760ab9dc1dc3009b875c326a7504339c4d0" data-href="https://embed.tumblr.com/embed/post/gWjIf-5GMz_MQF5NP8jLuw/133897386963">
<a href="http://that-handmaid.tumblr.com/post/133897386963/pfft">http://that-handmaid.tumblr.com/post/133897386963/pfft</a></div>
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The creatures at Pathos-II might be terrifying, but that carpet is even more so! But this Simon is braving it like a champ.<br />
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<b><span style="font-size: x-large;">Art by Blenderweasel</span></b><br />
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<div class="tumblr-post" data-did="a0cd2323f2ff753b99df1745b41543e9d3a3247e" data-href="https://embed.tumblr.com/embed/post/txZ9dP97tPaBm5WAOKaQEg/131258824330">
<a href="http://blenderweasel.tumblr.com/post/131258824330/inktober-day-15-im-only-partway-into-soma-and-i">http://blenderweasel.tumblr.com/post/131258824330/inktober-day-15-im-only-partway-into-soma-and-i</a></div>
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<script async="" src="https://assets.tumblr.com/post.js"></script>
Simon is an obviously unreliable narrator. He could have been a Roomba the whole time for all we know!<br />
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<b><span style="font-size: x-large;">Cosplay by Essi.cosplay</span></b><br />
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<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BgIMcGmHk3u/" data-instgrm-version="9" style="background: #fff; border-radius: 3px; border: 0; box-shadow: 0 0 1px 0 rgba(0 , 0 , 0 , 0.5) , 0 1px 10px 0 rgba(0 , 0 , 0 , 0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: 99.375%;">
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<a href="https://www.instagram.com/p/BgIMcGmHk3u/" style="color: black; font-family: "arial" , sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">@blizzard @frictionalgames WE NEED this crossover rn. #cosplay # Simon # soma #frictionalgames #reaper #overwatch #overwatchcosplay #armor #armorbuilding #evafoam #cosplaygirl #blizzard # gaming #kawaii #darkhorsecomics #eccc2018 #eccc</a></div>
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A post shared by <a href="https://www.instagram.com/essi.cosplay/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" target="_blank"> Ess</a> (@essi.cosplay) on <time datetime="2018-03-10T03:43:29+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Mar 9, 2018 at 7:43pm PST</time></div>
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<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BfpLCn0HF_U/" data-instgrm-version="9" style="background: #fff; border-radius: 3px; border: 0; box-shadow: 0 0 1px 0 rgba(0 , 0 , 0 , 0.5) , 0 1px 10px 0 rgba(0 , 0 , 0 , 0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: 99.375%;">
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<a href="https://www.instagram.com/p/BfpLCn0HF_U/" style="color: black; font-family: "arial" , sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">The con crunch is over!!! All 3 cosplays for #Eccc are complete, now let's hope for some good weather this weekend. #simonjarrett #soma #Eccc</a></div>
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A post shared by <a href="https://www.instagram.com/essi.cosplay/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" target="_blank"> Ess</a> (@essi.cosplay) on <time datetime="2018-02-26T02:34:48+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Feb 25, 2018 at 6:34pm PST</time></div>
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<script async="" defer="" src="//www.instagram.com/embed.js"></script>
Ess and her brother did an amazing job on the diving suit, down to the glowing eyes, WAU-infested trousers and even an Omnitool! And Simon eating pizza with a kawaii Reaper is the crossover we didn't know we wanted, but have now been enlightened.<br />
<span style="font-size: x-large;"><b><br /></b></span>
<span style="font-size: x-large;"><b>Doll by Sadunacc</b></span><br />
<br />
<div class="tumblr-post" data-did="febc788f053a464c242fb5008d33947586dff45d" data-href="https://embed.tumblr.com/embed/post/qrHQlfCXt_kKmM_ug_rZ0w/170776944683">
<a href="https://sadunacc.tumblr.com/post/170776944683/whoops-i-ended-up-making-simon-too">https://sadunacc.tumblr.com/post/170776944683/whoops-i-ended-up-making-simon-too</a></div>
<br />
Sadunacc has created a lot of lovely fanarts, including some more beautiful <a href="https://sadunacc.tumblr.com/image/171948249258">Leggy Catherines</a>. But this doll is so unique we had to share it - just look at it! A pocket-sized Simon!<br />
<b><span style="font-size: x-large;"><br /></span></b>
<b><span style="font-size: x-large;">Art by Piranyeaah</span></b><br />
<br />
<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BXg1-cEgZNp/" data-instgrm-version="9" style="background: #fff; border-radius: 3px; border: 0; box-shadow: 0 0 1px 0 rgba(0 , 0 , 0 , 0.5) , 0 1px 10px 0 rgba(0 , 0 , 0 , 0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: 99.375%;">
<div style="padding: 8px;">
<div style="background: #F8F8F8; line-height: 0; margin-top: 40px; padding: 62.5% 0; text-align: center; width: 100%;">
<div style="background: url(data:image/png; display: block; height: 44px; margin: 0 auto -44px; position: relative; top: -22px; width: 44px;">
</div>
</div>
<div style="margin: 8px 0 0 0; padding: 0 4px;">
<a href="https://www.instagram.com/p/BXg1-cEgZNp/" style="color: black; font-family: "arial" , sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">You know, I woke up in my bed today, it just so happens to have been 100 years ago. @frictionalgames . . . . #soma #frictionalgames #videogames #scifi #fanart #sketchdaily #art #artsy #artist #sketch #painting #illustration #drawing #draw #gallery #masterpiece #creative #graphic #graphics #artoftheday #instaart #instaartist #artistsoninstagram #draweveryday #artistsofinstagram #worldofartists #digitalart</a></div>
<div style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">
A post shared by <a href="https://www.instagram.com/piranyeaah/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" target="_blank"> Anja Ćuk - piranyeah</a> (@piranyeaah) on <time datetime="2017-08-08T00:45:39+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Aug 7, 2017 at 5:45pm PDT</time></div>
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</blockquote>
<br />
<script async="" defer="" src="//www.instagram.com/embed.js"></script>It is always cool to see artists' work progress - and for this work you can also see the <a href="https://www.instagram.com/p/BXpvsGpgr-a/">progression shots</a>! Piranyeaah did a lovely job capturing Simon's confusion.<br />
<span style="font-size: x-large;"><b><br /></b></span>
<span style="font-size: x-large;"><b>Art by Snuffysbox</b></span><br />
<br />
<div class="tumblr-post" data-did="810e756c280ca5f901cd0fe157beba877a92c80d" data-href="https://embed.tumblr.com/embed/post/LruMOPVKDzOOIhz1PzShuA/132359871722">
<a href="http://snuffysbox.tumblr.com/post/132359871722/deep-sea-buddy-adventure">http://snuffysbox.tumblr.com/post/132359871722/deep-sea-buddy-adventure</a></div>
<br />
They are friends! They are on an adventure! And nothing bad will happen!<br />
<br />
<div class="tumblr-post" data-did="40ca17aa843f9099121b738cd3f0bc898e299804" data-href="https://embed.tumblr.com/embed/post/LruMOPVKDzOOIhz1PzShuA/132421650637">
<a href="http://snuffysbox.tumblr.com/post/132421650637/simon-jarretts">http://snuffysbox.tumblr.com/post/132421650637/simon-jarretts</a></div>
<br />
If you're Simon and I'm Simon... then are there also other Simons, possibly disguised as Roombas? Let's not think about that, and instead think about how nice it is to see all of them together.<br />
<br />
<br />
<b><span style="font-size: x-large;">Animation by Articlerotten
</span></b><br />
<br />
<div class="tumblr-post" data-did="29670c34dd9625522bc2cd42a6bba0b45c6d87d9" data-href="https://embed.tumblr.com/embed/post/qUDBIPq3XCZx2xurAHH-Sw/137541646681">
<a href="http://articlerotten.tumblr.com/post/137541646681/goofy-soma-gif-while-i-try-learning-how-to-make">http://articlerotten.tumblr.com/post/137541646681/goofy-soma-gif-while-i-try-learning-how-to-make</a><br />
<br /></div>
<script async="" src="https://assets.tumblr.com/post.js"></script>
This is the smallest walk cycle of all time. And it's adorable.<br />
<b><span style="font-size: x-large;"><br /></span></b>
<b><span style="font-size: x-large;">Art by Talondoodle
</span></b><br />
<br />
<div class="tumblr-post" data-did="a40b4c23ca00869e1cfb8f83759dccbf80e6bd7d" data-href="https://embed.tumblr.com/embed/post/569LAHRIpsx7RUSQmabBJw/138766483607">
<a href="http://talondoodle.tumblr.com/post/138766483607/smol-simon-jarrett-for-all-your-smol-simon-jarrett">http://talondoodle.tumblr.com/post/138766483607/smol-simon-jarrett-for-all-your-smol-simon-jarrett</a><br />
<br /></div>
<script async="" src="https://assets.tumblr.com/post.js"></script>
Is this a Simon, or is this a squirrel? He sits silly, but we still love him.<br />
<span style="font-size: x-large;"><b><br /></b></span>
<span style="font-size: x-large;"><b>Art by starchild_hiroto
</b></span><br />
<br />
<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/BBBhk1NOV7A/" data-instgrm-version="9" style="background: #fff; border-radius: 3px; border: 0; box-shadow: 0 0 1px 0 rgba(0 , 0 , 0 , 0.5) , 0 1px 10px 0 rgba(0 , 0 , 0 , 0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: 99.375%;">
<div style="padding: 8px;">
<div style="background: #F8F8F8; line-height: 0; margin-top: 40px; padding: 62.5% 0; text-align: center; width: 100%;">
<div style="background: url(data:image/png; display: block; height: 44px; margin: 0 auto -44px; position: relative; top: -22px; width: 44px;">
</div>
</div>
<div style="margin: 8px 0 0 0; padding: 0 4px;">
<a href="https://www.instagram.com/p/BBBhk1NOV7A/" style="color: black; font-family: "arial" , sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">Dood #soma #frictionalgames #catherinechun #simonjarrett #draw #doodle #myart</a></div>
<div style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">
A post shared by <a href="https://www.instagram.com/starchild_hiroto/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" target="_blank"> Kazemaru didn't deserved this</a> (@starchild_hiroto) on <time datetime="2016-01-27T01:20:16+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Jan 26, 2016 at 5:20pm PST</time></div>
</div>
</blockquote>
<br />
<script async="" defer="" src="//www.instagram.com/embed.js"></script>
If this won't make them get along, then nothing will.<br />
<span style="font-size: x-large;"><b><br /></b></span>
<span style="font-size: x-large;"><b>Cosplay by Steampoweredwerehog</b></span><br />
<br />
<div class="tumblr-post" data-did="efef985f2b5b1f2895b3d865cf4049e8557ea919" data-href="https://embed.tumblr.com/embed/post/mI2IZg34Oy_lz0sVObE1BQ/144826091502">
<a href="https://steampoweredwerehog.tumblr.com/post/144826091502/behold-my-nearly-finished-simon-jarrett-from-soma">https://steampoweredwerehog.tumblr.com/post/144826091502/behold-my-nearly-finished-simon-jarrett-from-soma</a></div>
<br />
Inspiring people to push their limits and make something awesome is great! Steampoweredwerehog - if you're reading this, we'd love to see the final cosplay!<br />
<span style="font-size: x-large;"><b><br /></b></span>
<span style="font-size: x-large;"><b>Art by S.paceheart</b></span><br />
<br />
<blockquote class="instagram-media" data-instgrm-captioned="" data-instgrm-permalink="https://www.instagram.com/p/8_A78rTTcM/" data-instgrm-version="9" style="background: #fff; border-radius: 3px; border: 0; box-shadow: 0 0 1px 0 rgba(0 , 0 , 0 , 0.5) , 0 1px 10px 0 rgba(0 , 0 , 0 , 0.15); margin: 1px; max-width: 540px; min-width: 326px; padding: 0; width: 99.375%;">
<div style="padding: 8px;">
<div style="background: #F8F8F8; line-height: 0; margin-top: 40px; padding: 40.234375% 0; text-align: center; width: 100%;">
<div style="background: url(data:image/png; display: block; height: 44px; margin: 0 auto -44px; position: relative; top: -22px; width: 44px;">
</div>
</div>
<div style="margin: 8px 0 0 0; padding: 0 4px;">
<a href="https://www.instagram.com/p/8_A78rTTcM/" style="color: black; font-family: "arial" , sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px; text-decoration: none; word-wrap: break-word;" target="_blank">"good robot" i've been watching cryaotic play SOMA lately, and it was rly good, i just had to draw fanart. #soma #somagame #simonjarrett #k8 #myart</a></div>
<div style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; line-height: 17px; margin-bottom: 0; margin-top: 8px; overflow: hidden; padding: 8px 0 7px; text-align: center; text-overflow: ellipsis; white-space: nowrap;">
A post shared by <a href="https://www.instagram.com/s.paceheart/" style="color: #c9c8cd; font-family: Arial,sans-serif; font-size: 14px; font-style: normal; font-weight: normal; line-height: 17px;" target="_blank"> 💕Scar💜</a> (@s.paceheart) on <time datetime="2015-10-18T15:51:00+00:00" style="font-family: Arial,sans-serif; font-size: 14px; line-height: 17px;">Oct 18, 2015 at 8:51am PDT</time></div>
</div>
</blockquote>
<br />
These were the good times! Glad to have them captured in a picture, forever in a state of ":D".<br />
<b><span style="font-size: x-large;"><br /></span></b>
<b><span style="font-size: x-large;">Animation by Cprartsalot</span></b><br />
<br />
<div class="tumblr-post" data-did="40bf80982143633c8704b73952e8ab180b3d2259" data-href="https://embed.tumblr.com/embed/post/PRpt0YXh9xpzX3L0xFeq8w/133127049490">
<a href="http://cprartsalot.tumblr.com/post/133127049490/whispers-still-cant-get-over-what-happened-in">http://cprartsalot.tumblr.com/post/133127049490/whispers-still-cant-get-over-what-happened-in</a></div>
<br />
You can find all the SOMA pieces by Cprartsalot in their <a href="http://cprartsalot.tumblr.com/tagged/soma">SOMA tag</a>! But if we had to pick our favourite, it would be this one.<br />
<span style="font-size: x-large;"><b><br /></b></span>
<span style="font-size: x-large;"><b>Minecraft skin by IcarianPrince
</b></span><a href="https://www.planetminecraft.com/skin/simon-jarrett/" title="Simon Jarrett Minecraft Skin"><br /></a><br />
<div style="text-align: center;">
<a href="https://www.planetminecraft.com/skin/simon-jarrett/" title="Simon Jarrett Minecraft Skin"><img alt="Simon Jarrett" border="0" src="https://static.planetminecraft.com/files/resource_media/preview/1604/diver9835173_minecraft_skin-9835173.jpg" /></a></div>
<div style="text-align: center;">
<a href="https://www.planetminecraft.com/skin/simon-jarrett/" title="Simon Jarrett Minecraft Skin">View Simon Jarrett</a></div>
<br />
<br />
<span style="color: #0000ee;"><u><br /></u></span>
Just look at that Minecraft boy go! Just don't stay underwater for too long, we can't guarantee this skin will make you into an actual diver.<br />
<b><span style="font-size: x-large;"><br /></span></b>
<b><span style="font-size: x-large;">Art by TigerSpuds</span></b><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZwAe-nyNv_hmqt8q5ufidq0P_RRta94WCpkl75SDTAvdtTswS_CfoIU2L-OEhn_m1AJoOY6kmossKwtO65c8McdI8iANHGipwfHxuibie1M9NZXl_T09cgATjbCj5CU_emogVr2IpD6HZ/s1600/soma_ending___the_ark_by_sambeagle08-d9h4ufq.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="743" data-original-width="1024" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZwAe-nyNv_hmqt8q5ufidq0P_RRta94WCpkl75SDTAvdtTswS_CfoIU2L-OEhn_m1AJoOY6kmossKwtO65c8McdI8iANHGipwfHxuibie1M9NZXl_T09cgATjbCj5CU_emogVr2IpD6HZ/s400/soma_ending___the_ark_by_sambeagle08-d9h4ufq.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="https://www.deviantart.com/tigerspuds/art/SOMA-Ending-The-ARK-572975126">https://www.deviantart.com/tigerspuds/art/SOMA-Ending-The-ARK-572975126</a></td></tr>
</tbody></table>
<br />
And to end things off, we present this piece of art. We can let Simon have a happy ending. At least for this one day.Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-9193968969153274146.post-64976402883509226872018-06-08T15:33:00.002+02:002018-06-08T16:03:05.793+02:00Hiring: Project-based programmer<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisNpY-lRo7GG4j_3uRleeTxGOlQUEGcQEODZCOfXJLWOROnMTBaqhTBVjrNG1DMUpmeRS8QGZBN_BAqEO_jMfc7GLZUEaVd6TYFSMtCNUGe8f8f1V0ZMa6OL9ehk7LB3Q3Vclc7MAOgwQR/s1600/programmer+ad+big.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="887" data-original-width="1600" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisNpY-lRo7GG4j_3uRleeTxGOlQUEGcQEODZCOfXJLWOROnMTBaqhTBVjrNG1DMUpmeRS8QGZBN_BAqEO_jMfc7GLZUEaVd6TYFSMtCNUGe8f8f1V0ZMa6OL9ehk7LB3Q3Vclc7MAOgwQR/s400/programmer+ad+big.png" width="400" /></a></div>
<br />
<br />
<b>Title:</b> Gameplay Programmer<br />
<b>Type:</b> Full-time, project-based (1 year)<br />
<b>Last day to apply:</b> 8th of July 2018<br />
<br />
<br />
Frictional Games is famous for its immersive, atmospheric first-person games; games created by a small team working closely together. For our next game, we need to expand that team! We need a gameplay coder who can support the rest of us, taking on responsibility for game-wide systems such as inventory, AI, first-person body, and other features that the player’s experience will depend on. Join us, and help us transport our players to strange and terrifying new realms.<br />
<br />
The position is full-time, and project-based for the period of 1 year. After that period there may be a possibility for the position to become permanent.<br />
<br />
<span style="font-size: large;"><b>What will you work on?</b></span><br />
Here are some of the specific gameplay systems you will find yourself working on:<br />
<ul>
<li>Inventory management</li>
<li>AI behavior</li>
<li>Physics interactions</li>
<li>User interface</li>
<li>Game-specific systems (think Sanity system in Amnesia: The Dark Descent)</li>
<li>Inverse kinematics</li>
</ul>
It is a big plus if you have already worked on most of these before. While we value experience, it is more important that you are willing and able to dig into challenges and learn new things. We are interested in playing to your strengths, so the things listed will not be the only ones you will be working on.<br />
<br />
<span style="font-size: large;"><b>What are we looking for?</b></span><br />
The person we’re looking for should have a solid understanding of different gameplay systems. You need to be able to see the big picture and have a firm grasp on how information flows between modules, and how complex behaviour can be reduced into simple rule sets.<br />
<br />
We use our own engines, so you need to be able to adapt to the existing system and code base. We also value the end user experience, so we hope you can step into the players’ shoes instead of only focusing on the nitty gritty technical stuff.<br />
<br />
<b>You have to be a European resident to apply!</b><br />
<br />
Here are our other essential requirements:<br />
<ul>
<li>You have worked on a game that uses 3D environments.</li>
<li>Well-versed in C++, C#, Java or similar.</li>
<li>Strong linear algebra skills.</li>
<li>Major role in completing at least one game.</li>
<li>Strong self-drive and ability to organise your own work.</li>
<li>A critical approach to your work, ability to reflect.</li>
<li>Confidence in implementing your own designs.</li>
<li>Fluency in English.</li>
<li>Team communication skills.</li>
<li>Knowledge of game design.</li>
<li>A Windows PC that runs recent games (such as SOMA) that you can use for work (unless you live in Malmö and will work from the office).</li>
<li>A fast and stable internet connection.</li>
</ul>
For this position you can work from home. We have a central hub in Malmö, Sweden, which you can use if you wish.<br />
<br />
What we offer:<br />
<ul>
<li>Flexible working hours, a no-crunch approach.</li>
<li>Opportunities to influence your work flow.</li>
<li>Variety in your work tasks, and ability to influence your work load.</li>
<li>Participation in Show & Tell of games, having a say in all aspects of the game making.</li>
<li>An office in central Malmö you can use.</li>
<li>An inclusive work environment.</li>
<li>A possibility to become a permanent employee.</li>
</ul>
<br />
<b><span style="font-size: large;">Apply? Yes!</span></b><br />
Did the tasks above sound like your cup of tea (or other beverage)? Are you the person we’re looking for? Then we would love you hear from you! The last day to send the application is <b>8th of July 2018</b> - but the sooner the better.<br />
<br />
<b>Please send us your:</b><br />
<ul>
<li><b>Cover letter</b></li>
<ul>
<li>Tell us why we should hire YOU!</li>
</ul>
<li><b>CV</b></li>
<li><b>Portfolio</b></li>
<ul>
<li>PDF or links to your works</li>
</ul>
</ul>
<div>
Please note that we require all the attachments to consider you.</div>
<div>
<br /></div>
Send your application to <b>apply@frictionalgames.com</b>!<br />
<br />
<b><span style="font-size: large;">Privacy Policy</span></b><br />
By sending us your application, you give us permission to store your personal information and attachments.<br />
<br />
We store all applications in a secure system. The applications are stored for two years, after which they are deleted. If you want your your information removed earlier, please contact us through our <a href="https://www.frictionalgames.com/site/contact" target="_blank">Contact form</a>. Read more in our <a href="https://www.frictionalgames.com/site/privacypolicy" target="_blank">Privacy Policy</a>.<br />
<br />Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-9193968969153274146.post-54583730882700319182018-05-18T15:57:00.000+02:002018-06-08T16:05:21.148+02:00Hiring: 3D Artist<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/C4ZFZ8hfdmE/0.jpg" frameborder="0" height="338" src="https://www.youtube.com/embed/C4ZFZ8hfdmE?feature=player_embedded" width="600"></iframe></div>
<b><br /></b>
<b>Title:</b> 3D artist<br />
<b>Focus:</b> Environment design<br />
<b>Type:</b> Full-time, permanent<br />
<b>Last day to apply: </b>17th of June 2018<br />
<br />
Frictional games are filled with terror, intrigue, mystery, and emotion. We want our environments to reflect that, from the shape of the landscape to the smallest rock, while subtly guiding players and helping to enhance the gameplay.<br />
<br />
This is where you come in.<br />
<br />
We are now looking for an experienced 3D artist, who will focus on environment design for our upcoming games. This means working closely with our gameplay programmers / designers, and using modelling, texturing, and design skills to create memorable, interesting, and functional environments for our players to experience.<br />
<br />
<br />
<b><span style="font-size: large;">
What will you work on?</span></b><br />
We are quite a small team, but we consider it our strength. As an environment artist you will get to work on everything from props to high-level design. This means your contribution will greatly influence how the final game looks, plays, and evokes emotions.<br />
<br />
Here are some of the things you will be working on:<br />
<ul>
<li>Collaborating with designers to create level layouts, combining both gameplay and an artistic perspective.</li>
<li>Taking levels from whitebox to a polished product.</li>
<li>Creating basic models that make up the levels, such as walls and floors.</li>
<li>Modelling props of various complexity, both with and without the help of concept art, and often having to take gameplay concerns into account.</li>
<li>Constructing particle systems, both by drawing textures and using parameters in our editor.</li>
<li>Combining various techniques to create special effects, such as flowing water or fire.</li>
</ul>
We also encourage working outside of your area of expertise, and always learning new things. The more areas of development you are willing and able take part in, the better!<br />
<br />
For some examples of our environments, please check the video above!<br />
<br />
<br />
<b><span style="font-size: large;">
What are we looking for?</span></b><br />
The person we’re looking for is creative, driven and self-sufficient. We have recently set up a central hub in Malmö, Sweden, and hope you can move over to our seaside city sometime in the future.<br />
<br />
<b>You have to be a European resident to apply.</b><br />
<br />
Here are some essential skills we require:<br />
<ul>
<li>Good understanding of composition and player guidance.</li>
<li>Ability to challenge yourself, make bold creative decisions, and try non-conventional things.</li>
<li>A critical approach to your work, with the ability to take a step back and reflect.</li>
<li>A strive for structure, efficiency, and clarity.</li>
<li>Strong self-drive and ability to organise your own work.</li>
<li>Interest in and ability to do research for interesting prop and environment solutions.</li>
<li>Love for working on a variety of tasks.</li>
<li>Fluency in English.</li>
</ul>
And here are some more techie skills:<br />
<ul>
<li>Excellent skills in 3D software. Modo preferred.</li>
<li>Familiarity with Zbrush/Mudbox/similar.</li>
<li>Excellent skills in Substance.</li>
<li>Excellent skills in Photoshop or similar software.</li>
<li>Familiarity with issue-tracking software.</li>
<li>Experience in classic/non-PBR workflow.</li>
<li>Basic rigging and animation skills.</li>
</ul>
If you want to impress us:<br />
<ul>
<li>Love for horror, sci-fi, and narrative games.</li>
<li>A major role in completing at least one game.</li>
<li>Great free-drawing skills.</li>
<li>Experience in level design.</li>
<li>Strong game design skills.</li>
<li>Experience kitbashing/working with modular sets.</li>
</ul>
<br />
<span style="font-size: large;"><b>
What do we offer?</b></span><br />
We make games, because that’s what we love. But we know there are other things we love, like playing games, taking part in sports, or spending time with our families. We believe a healthy balance between work and life reflects positively on your work, which is why we don’t encourage crunch.<br />
<br />
We also offer:<br />
<ul>
<li>Flexible working hours.</li>
<li>Opportunities to influence your workflow.</li>
<li>Variety in your work tasks, and ability to influence your workload.</li>
<li>Participation in our internal game Show & Tell sessions, so you’ll have input into all aspects of the game.</li>
<li>Social security and holidays that are up to the Swedish standards.</li>
<li>An inclusive and respectful work environment.</li>
<li>An office in central Malmö you can use as much as you please.</li>
<li>Fun workmates, game and movie nights, and other outings!</li>
</ul>
<br />
<span style="font-size: large;"><b>
Apply? Apply!</b></span><br />
If all of the above piqued your interest, we would love to hear from you! Send us your application 17th of June the latest - but the sooner, the better! Please attach your:<br />
<ul>
<li>Cover Letter </li>
<ul>
<li>Why should we hire YOU?</li>
</ul>
<li>CV</li>
<li>Portfolio </li>
<ul>
<li>Link or PDF</li>
</ul>
<li>Preliminary work test</li>
<ul>
<li><b>See the test below</b></li>
</ul>
<li>Examples of works that have inspired you or blown you away </li>
<ul>
<li>PDF, screenshots preferred.</li>
</ul>
</ul>
<br />
Please note that we require all the attachments to consider you.<br />
<br />
Send your application to <b>apply@frictionalgames.com</b>!<br />
<br />
<br />
<span style="font-size: large;"><b>
Preliminary work test</b></span><br />
After 3 years of failed experiments, Professor Kim finally managed to reverse gravity. However, the professor died just as he succeeded, and the whole thing ran amok.<br />
<br />
The player enters the research facility where the experiments took place. As they go through the level, they gradually learn about what the professor was trying to achieve. At the end they’re met with a revelation, and see the disturbing results of the experiment. As they reach the end, the level must loop in a way where the player finds themselves near the entrance, where they first started.<br />
<br />
We are looking for a simple design, done as a rough 3D sketch/white box. You are free to write notes and do paint-overs on top of the 3D.<br />
<br />
This test is a first step in the evaluation process, showing us your basic skills, so we are not looking for you to spend a lot of time on it. Imagine this as a quick proof of concept you would present before doing a pitch or a design.<br />
<br />
We will evaluate your artist vision, creativity as well as level design skills.<br />
<br />
Put everything as a collection of images into one folder on Dropbox, Drive or similar, and send the link to us.<br />
<div>
<br />
<br />
<b><span style="font-size: large;">Privacy Policy</span></b><br />
By sending us your application, you give us permission to store your personal information and attachments.<br />
<br />
We store all applications in a secure system. The applications are stored for two years, after which they are deleted. If you want your your information removed earlier, please contact us through our <a href="https://www.frictionalgames.com/site/contact" target="_blank">Contact form</a>. Read more in our <a href="https://www.frictionalgames.com/site/privacypolicy" target="_blank">Privacy Policy</a>.</div>
Unknownnoreply@blogger.com7tag:blogger.com,1999:blog-9193968969153274146.post-1037343850964439882018-05-02T14:50:00.000+02:002018-05-18T15:56:47.175+02:00People of Frictional: Gregor Panič<h2>
WHO AM I?</h2>
<br />
Hi there! I’m Gregor and I’m a designer and programmer at Frictional, which means I’m responsible for all the fun events in our levels. Okay, maybe they’re fun just for us.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnzrb45CMzhsfAa3oOV8yg-3oPnmKpfpsQSSUHuial2biYju8krLVvw4mOKnBYpM3xz9YWZ4P0xL6_1SA6zHuChCqb-GRx2PDlOVE0epjbq9H-WyLHE9esDXibri8_iB0JjHMdwZysid_h/s1600/B_img_20180502_135854_1024.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="708" data-original-width="587" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnzrb45CMzhsfAa3oOV8yg-3oPnmKpfpsQSSUHuial2biYju8krLVvw4mOKnBYpM3xz9YWZ4P0xL6_1SA6zHuChCqb-GRx2PDlOVE0epjbq9H-WyLHE9esDXibri8_iB0JjHMdwZysid_h/s400/B_img_20180502_135854_1024.jpg" width="331" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">It's me! And the sign on our door, printed on an A4 and a little crumpled...</td></tr>
</tbody></table>
<br />
I’m a more recent recruit, having joined around September 2016. My job description, gameplay programmer / designer, is purposefully vague. While I mainly work on level scripting, I also spend time on AI, gameplay systems and level design. I also worked on our collaboration with the Tobii Eye Tracker, which I will talk about later. The great part about this is that my work never gets stale and almost none of my days feel the same.<br />
<br />
I’m originally from a little known country called Slovenia, but I’ve recently moved to the land of the vikings to become one myself. Or, in other words: I moved to Malmö around two months ago and now work from our fairly new office.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpIKiIn-uJ886tb0GcBf11gaqCFZPa1ZCAjLiYNBKee7a-XTMYK90r5Q2A563EFUBeimuMaJ2GGkSm0QcLHkzzIzTqgePFidamf8Ym8BsD-Zdj5DCRrWZM6HKDrBCV_nM5zZkPi910o3yg/s1600/B_office_3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1147" data-original-width="1600" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpIKiIn-uJ886tb0GcBf11gaqCFZPa1ZCAjLiYNBKee7a-XTMYK90r5Q2A563EFUBeimuMaJ2GGkSm0QcLHkzzIzTqgePFidamf8Ym8BsD-Zdj5DCRrWZM6HKDrBCV_nM5zZkPi910o3yg/s400/B_office_3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">My setup at work - right next to the fanart wall! No deskmate yet, though. :'(</td></tr>
</tbody></table>
I absolutely adore our office and go there pretty much every day to socialize with and get inspired by my co-workers. I’m also the one who nags everyone with occasional movie and gaming nights, where we usually grab some snacks, relax and watch a horror movie (obviously), or games like FIFA and Jackbox Party Pack!<br />
<br />
<h2>
BACKGROUND</h2>
<br />
I can’t really remember the time when I first started playing games. I do know that around the late 90s my dad brought home an Intel 80186 PC one day, thinking he would use it for work. He was wrong. After he showed me a couple of MS-DOS games and I realized I could make things move by pressing buttons, I became glued to that PC. My parents didn’t manage to pry me from it, so I’ve been playing games ever since. Not on the same machine, obviously.<br />
<br />
I played a lot of games, but didn’t touch the horror genre for the longest time. I still remember having vivid nightmares and being unable to sleep whenever I saw something remotely scary on television. When I was older, however, a friend of mine bought me Amnesia as a “gift”. It was a dare, of course, but because I didn’t want to disappoint my friend, I played through it. It was just as scary as everyone was telling me, perhaps even more so.<br />
<br />
But while I was playing it I also realized that it was about more than just scaring the living hell out of me. It managed to fully immerse me in its world and story, which I had not experienced to this degree before. This is how I got introduced to the horror genre, and to Frictional, which would later impact my life more than I could have possibly imagined.<br />
<br />
Making games has been my dream ever since I can remember. Given how much fun I had playing them, I thought it would be great if I could make my own – which is why I always liked messing around with settings, seeing what I could do with cheat codes, and figuring out damage formulas so I could get an advantage. It wasn’t until I got sucked into a game called Jedi Knight: Jedi Academy, however, that I actually made my first array into creating my own content. I made lightsaber hilts, maps, and even modified some scripts to make the game play like I wanted to.<br />
<br />
Unfortunately, growing up in Slovenia there was no real game dev scene there, so I forgot about my dream. It simply never occured to me that I could make games for a living. However, since I was already using my computer so much, I thought it would be fun to work in IT. So I learned some basic C++ programming in high school, then went to a computer science university where I learned a lot more about programming and software in general.<br />
<br />
For a long time I resigned myself to becoming a web developer, taking some summer jobs and part-time work in that field. The job became more and more mundane and boring, until I finally realized that I couldn’t do it long term, and that I had to find something more fulfilling. That is when I remembered my dream of making games, how much fun they brought me and how great it would be to be able to help someone else have the same experience. I already had a lot of programming experience, so I became determined to join the games industry.<br />
<br />
I immediately quit my part-time job and started working on my first small game. I wanted to do everything on my own so that I would learn all the intricacies of game development. A year or so of studying and work amounted to Welkin Road, a little puzzle platformer with grappling hooks.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://steamcdn-a.akamaihd.net/steam/apps/432720/ss_6a93ae7b784631dc49a5745d58bf879bb5fc55bd.1920x1080.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="450" data-original-width="800" height="225" src="https://steamcdn-a.akamaihd.net/steam/apps/432720/ss_6a93ae7b784631dc49a5745d58bf879bb5fc55bd.1920x1080.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In Welkin Road you use your two grappling hooks to solve movement-based puzzles.</td></tr>
</tbody></table>
<br />
While I was in the process of finishing Welkin Road, I started looking at potential studios I could join. That’s when I saw a tweet from Frictional, mentioning that they were looking for a designer / programmer. I didn’t think I was ready, but I figured this was my only chance to work with the company, so I sent my resume in anyway.<br />
<br />
To my big surprise they offered me a work test, to see whether I was suitable for the role. I gave it my best, but after I sent in my project I tried to prepare myself for the inevitable let-down. Instead I got a positive reply and an invitation to an interview. The final decision came a couple of weeks later.<br />
<br />
Spoiler alert: I got the job.<br />
<br />
Given that I was a big fan of Amnesia and SOMA, the decision to accept was a no-brainer. However, it took me quite a while to properly register that I had fulfilled my lifelong dream. A year and a half later I realize how lucky I am to be one of the few people who can wake up on Mondays with a smile on their face.<br />
<br />
After joining, I immediately started working on my introductory tasks aimed at learning the new tools. I joined at the same time as <a href="http://frictionalgames.blogspot.fi/2018/02/people-of-frictional-max-lidbeck.html" target="_blank">Max</a>, so we bonded over struggling to understand all the new stuff. When those tasks were done, I started working on my first real project: designing and implementing eye tracking features in SOMA, which I will talk about in more detail in the next section.<br />
<br />
A while after I was brought on, the company started looking to set up a studio in Malmö. I already knew that if I wanted to make games, I would most likely have to move, so the decision to move to Malmö didn’t take me long to make. Finding a place to stay took a while, but I eventually managed to find a nice apartment and settle in, in no small part thanks to my incredibly kind and welcoming co-workers.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQVlDvSQKF9Ak0QozG7oySvtOLX-TDFwnfw-yrqwuRkhoOVPyp6GTLjEe2kemlhiHcp39PYkE8aNrjpvfIp6HLcTaf6j-7lid5fW1wBKlOL-KK0lheVUVFaa-Ul-6fPN_3sMme2I7pEfXv/s1600/B_home_2_1024.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="768" data-original-width="768" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQVlDvSQKF9Ak0QozG7oySvtOLX-TDFwnfw-yrqwuRkhoOVPyp6GTLjEe2kemlhiHcp39PYkE8aNrjpvfIp6HLcTaf6j-7lid5fW1wBKlOL-KK0lheVUVFaa-Ul-6fPN_3sMme2I7pEfXv/s400/B_home_2_1024.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The setup in my new home in Malmö!</td></tr>
</tbody></table>
<br />
<br />
<h2>
FIRING LASERS (more commonly known as Eye Tracking)</h2>
<br />
As promised, I will now spend some time talking about my adventures in eye tracking. After receiving a unit from Tobii, I first tested it with a bunch of games that already had eye tracking support. Deus Ex: Mankind Divided was a particularly useful use case study, since it had a robust implementation and used the eye tracker in interesting ways. I was initially very surprised at how well the eye tracker worked in that game, and how seamless and intuitive it was to use without putting any strain on my eyes. This gave me the confidence that we could use this to enhance SOMA.<br />
<br />
Once I got a feel for what the technology was capable of, I read through Tobii’s SDK documentation and code samples to figure out how it all worked. In simple terms, the Tobii eye tracker provides a continuous data stream of screen coordinates that represent the location on the screen the user is looking at. Think of it as firing 60+ laser beams per second from your eyes to your monitor. Bring it on, Cyclops!<br />
<br />
After I was done feeling like a superhero, I looked into how we could use this in our own engine, HPL3. Since Tobii’s SDK was easy to use, integrating it into HPL3 wasn’t too difficult, especially with the help of our engine programmer <a href="http://frictionalgames.blogspot.fi/2014/08/people-of-frictional-peter-wester.html" target="_blank">Peter</a>.<br />
<br />
With the technical aspects more or less dealt with, I started thinking about the design of our eye tracking features, and how we could best make use of this technology to enhance the game. This included brainstorming sessions, quick prototyping and a lot of feedback from the rest of the team.<br />
<br />
It quickly became clear that while controlling and moving stuff around on the screen with your eyes is fun, it becomes tiring and uncomfortable really fast. For a good experience, the player must never be actively thinking about using their eyes. Instead, the game should react to the player’s natural eye movements and try to enhance the experience. A negative side effect of this design principle is that unfortunately quite a lot of features become very subtle and hard for the player to notice consciously, despite having an overall positive effect.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX2fWwq9tvrCjoqSlq5lQI92YG1Tyy_Et78_CNW_460y9amoCiZr0ugzGaVnS5LqwuyMv8lRa_naTP8QikM4BgQ15mI5OevpZaVqudLOTChyphenhyphenhaPutVgoeQ-iR3Qg7bz4uM6NdaCXVzBhUn/s1600/eye_tracking_debug.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="740" data-original-width="1343" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX2fWwq9tvrCjoqSlq5lQI92YG1Tyy_Et78_CNW_460y9amoCiZr0ugzGaVnS5LqwuyMv8lRa_naTP8QikM4BgQ15mI5OevpZaVqudLOTChyphenhyphenhaPutVgoeQ-iR3Qg7bz4uM6NdaCXVzBhUn/s400/eye_tracking_debug.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The white circle is where the player is looking.</td></tr>
</tbody></table>
<br />
Another interesting aspect of designing these features was how eye tracking could be used in a very immersive first person horror game. Horror games often rely on where the player is looking to trigger certain events, which always means a certain level of uncertainty about whether the player actually registered what was happening on the screen or not. With eye tracking, this uncertainty became very minimal, which meant that the timing of a lot of the events in SOMA naturally improved.<br />
<br />
In the end, we ended up with a number of eye tracking features we were happy with. The most noticeable ones are extended view, which makes the viewport pan towards where the player is looking, and the ability to control the flashlight with your eyes. A number of enemies also react to the player’s gaze, such as the flesher monster becoming aggressive when looked at and teleporting when the player blinks, or the deep sea diver stopping when the player maintains eye contact.<br />
<br />
Other features are much more subtle and designed to enhance immersion and mood. For example, staring at creepy and gory scenes zooms the screen slightly, giving the impression that Simon is in a trance or shock-like state and can’t look away. When the player looks at enemies, the screen distortion effect intensifies to further discourage players from looking at them.<br />
<br />
Additionally there are some really secret ones, such as Ross’ distorted computer messages appearing exactly when the player blinks, to further reinforce how Ross is inside Simon’s head. My personal favorite, however, is a subtle reaction from K8, the incredibly friendly and helpful swimbot, which gives the player a small opportunity to communicate with it.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/MzyNTpS5QnM/0.jpg" frameborder="0" height="240" src="https://www.youtube.com/embed/MzyNTpS5QnM?feature=player_embedded" width="462"></iframe></div>
<div class="separator" style="clear: both; text-align: center;">
The developer showcase of eye tracking features.</div>
<br />
<br />
In summary, working on eye tracking has been an incredibly fun and rewarding experience both because of the challenge, knowledge gained and the creative freedom. Besides, who doesn’t enjoy firing lasers with their eyes? The end result hopefully enhances the SOMA experience, even if just a tiny little bit. So if you have the PC version on Windows and a Tobii eye tracker, consider giving an even more immersive version of SOMA a go!<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/9hVauJMni1w/0.jpg" frameborder="0" height="240" src="https://www.youtube.com/embed/9hVauJMni1w?feature=player_embedded" width="426"></iframe></div>
<div style="text-align: center;">
The official trailer for eye tracking in SOMA.</div>
<br />
Eye tracking is just a small part of my work at Frictional though, as I’m currently working on one of our next projects. I’m already really proud of what we’re creating and I’m happier than ever with my choice to follow my dream of making games. We’re all really excited to be able to share more of what we’re doing, but until then we’ll just keep doing our best. This also reminds me it is time for another gaming night, to keep our spirits up!<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3coS0J9tnhH99uOZSeO3Ij0KyMEaKVbbqFgyHY-r7C1GfdH0xvFkEqZaLEhUm413ExwnS6SGm3oIhDUBNCHQ72jI5Q8Tgsx6p88eYP8H4Lg0JRBbKI5GF-JYNmRazkUZaGNfq-AMnRASa/s1600/20180401_225857.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="998" data-original-width="744" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3coS0J9tnhH99uOZSeO3Ij0KyMEaKVbbqFgyHY-r7C1GfdH0xvFkEqZaLEhUm413ExwnS6SGm3oIhDUBNCHQ72jI5Q8Tgsx6p88eYP8H4Lg0JRBbKI5GF-JYNmRazkUZaGNfq-AMnRASa/s320/20180401_225857.jpg" width="238" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Quality Frictional Humour™ from a recent Jackbox Party night.</td></tr>
</tbody></table>
<br />
<br />
<i>Wanna see who else works at Frictional? Check out the rest of the <a href="http://frictionalgames.blogspot.fi/search/label/PeopleOfFrictional" target="_blank">People of Frictional</a> posts!</i><br />
<div>
<br /></div>
Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-9193968969153274146.post-23202551562522419972018-03-27T19:37:00.000+02:002018-10-16T16:46:17.065+02:00People of Frictional: Alex Camilleri<h2>
WHO AM I</h2>
<br />
Hi, my name is Alex and I am one of those people on this planet who make games for a living. I joined Frictional Games almost a year ago as a gameplay programmer & designer, and I am currently working on [REDACTED].<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpkaKg_OY1KzTLNJNJBS3nnKZGV0HXv8wtqGnIme8JKaA9ViYb1cVaolTRxwfBrFHcY5SgsmYut3RqC0BDEbNuMx8CJ3MA2fZBjApbMS1eDISEQJrrtGCeJXBtvQsBOjHN0iW6mt5EIJqT/s1600/blogphoto.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpkaKg_OY1KzTLNJNJBS3nnKZGV0HXv8wtqGnIme8JKaA9ViYb1cVaolTRxwfBrFHcY5SgsmYut3RqC0BDEbNuMx8CJ3MA2fZBjApbMS1eDISEQJrrtGCeJXBtvQsBOjHN0iW6mt5EIJqT/s400/blogphoto.jpeg" width="400" /></a></div>
<br />
<br />
Despite my warm Sicilian blood, I ended up living in this beautiful yet terribly cold place called Sweden, where I obviously work from.<br />
<br />
<h2>
BACKGROUND</h2>
<br />
I got exposed to videogames as a kid, watching my dad playing Lucas adventures (that Indiana Jones and the Fate of Atlantis intro sequence will forever be impressed in my memory) and – like most people these days – I just spent a lot of my free time playing games.<br />
<br />
I remember that when I was really really young I would draw labyrinths on paper and let my best friend play them as I was adding moving traps and enemies on the go. It was a complete nonsense but I think it’s the earliest somewhat-interactive thing I’ve ever made. It was pretty fun.<br />
<br />
During my teenage years it was really clear to me that I wanted to work with games, so I started doing game journalism and with two friends of mine I would spend nights playing games but also making terrible prototypes, studying some programming in our spare time. My first playable game was obviously an extremely generic shoot-em-up with horrible graphics and some keygen music slapped on top.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyS4LafJ831EeAZZZmKLAwh8RIc3SaCZEX-FdKldbdfRnVOtOmZb3vmT2aZA8CvZf05CJh7Yv8jge7OwklbJD-6YVn1Occ5WRzm39IJqb-jdXIWQC-2jbM0FKa6CkLzqTGjfjCFHOktatM/s1600/blogboth.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="622" data-original-width="1600" height="155" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyS4LafJ831EeAZZZmKLAwh8RIc3SaCZEX-FdKldbdfRnVOtOmZb3vmT2aZA8CvZf05CJh7Yv8jge7OwklbJD-6YVn1Occ5WRzm39IJqb-jdXIWQC-2jbM0FKa6CkLzqTGjfjCFHOktatM/s400/blogboth.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 1: On the left: me eating while being bored to death with my new programming book. On the right: me probably being overly excited about making something shoot a bullet into something else. I’m also wearing swimming trunks for some reason.</td></tr>
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I eventually decided to move to the Netherlands to study and get my bachelor’s degree in Game Design and Production. Living there was a great fun and allowed me to be part of an active gamedev community. I went to gamedev events, met many developers, expanded my network and opened my one-man-company called Kalopsia (hi Josh Homme!). I also joined a lot of game jams, one of which landed me an internship at Guerrilla Cambridge doing some level design on RIGS: Mechanized Combat League for PSVR (at the time the Morpheus prototype was just a bunch of lenses and cables put together with tape).<br />
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I ultimately started my own small but very personal project called <a href="http://www.memoirencode.com/" target="_blank">Memoir En Code: Reissue</a>, which I eventually released on Steam/Humble/GOG (totally not a plug). I worked solo on that project for quite some time, and after the release I felt the need to change gears and work in a team again. A friend of mine told me there was an opening at Frictional Games, and how could I not apply to the company that made SOMA?<br />
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Fun fact: after I submitted the work test I travelled to San Francisco for GDC17, and Thomas and Fredrik were there as well. We did not meet in person though, and I ended up spending most of the conference thinking about the test; it was actually a bit stressful and distracting! I found a partner for a new solo project that I was planning to make in case stuff didn’t work out, but I got a positive response from Frictional and I obviously agreed to join the team.<br />
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I’m not crazy after all.<br />
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WHAT I DO</h2>
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During the first weeks at Frictional I spent my time learning the tools and the overall work pipeline. This resulted in me creating a short psychedelic game where you put out fires by peeing on them, while Slayer music plays in the background. It’s probably the best thing I have made to this date.<br />
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At the beginning there was a lot of stuff to learn and take in. But to be honest that was the entire point why I pushed myself into a new environment; you can’t really become a better developer if you don’t expose yourself to new stuff.<br />
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After I was done with the intro tasks I quickly jumped into production, working with <a href="http://frictionalgames.blogspot.fi/2014/05/people-of-frictional-aaron-clifford.html" target="_blank">Aaron</a> (we are officially called the A-Team). He works from the UK, but we have a very clear line of communication; we are fairly independent, but we are always in sync, which is working out very well for us.<br />
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I spend most of my days scripting events, moving a door 0.25 units to the left to improve visibility and making that sound play with 0.5s delay because it just feels a bit better. The rest of the day is spent drinking tea with my desk-buddy <a href="http://frictionalgames.blogspot.fi/2018/02/people-of-frictional-max-lidbeck.html" target="_blank">Max</a> and mostly hoping that nothing breaks. I have also spent some time making small changes to the debug tools we use, just to make the pipeline a bit smoother or a bit more comfortable. I juggle between working from the office and from home, depending on the amount of isolation my brain needs. Being able to do that is a big privilege that has a very positive creative impact on me.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgnjh8c0Rcbzyh81kWp5EN8tTHQpSNL9MFovc2EenbIbqQd6x69DG5WrsfkCSPt_W75uxB-Dag9b6u23AgvU0qqy5s6WJRd-ZOry1ikBGPQiPx0Fi06hJF69bvdb4LP1Be1cKIPefbPhQ5/s1600/dsc00246.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1068" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgnjh8c0Rcbzyh81kWp5EN8tTHQpSNL9MFovc2EenbIbqQd6x69DG5WrsfkCSPt_W75uxB-Dag9b6u23AgvU0qqy5s6WJRd-ZOry1ikBGPQiPx0Fi06hJF69bvdb4LP1Be1cKIPefbPhQ5/s400/dsc00246.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Figure 2: my workstation at home. I have the same desk at the office and the same type of chaos ruling over it.</td></tr>
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STUFF THAT I LIKE</h2>
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Since designing games is a complete dream-job, I try to keep myself busy by doing other creative things on the side. I spend quite some time doing photography, which I enjoy quite a lot. When I travel I always bring my a7ii with me, practicing and slowly improving over time. Aside from that, I also very much enjoy making music. Some months ago I got a Teenage Engineering OP-1 which I am having tons of fun with, and I am now playing a bit of ukulele.<br />
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I guess I won’t be happy if I don’t mention my biggest love. I have a deep (and almost unhealthy) love for anything Kojima makes. Over the years my love for his games went a bit overboard (I am the person behind the <a href="http://www.metalgeartimeline.com/" target="_blank">Metal Gear Timeline</a> which you should totally check out if you are new to the saga) and now I ended up with a corner of my apartment being completely dedicated to his work. I keep adding stuff to the cabinet and now I probably need a new one after I got some new loot from my recent trip to Hong Kong. I fill my existential void with Metal Gear stuff, I need a doctor.<br />
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Oh, and you can find me on Twitter as <a href="https://twitter.com/AlexKalopsia" target="_blank">@AlexKalopsia</a>!<br />
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<tr><td class="tr-caption" style="text-align: center;">Figure 3: My babies.</td></tr>
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<i>Wanna see who else works at Frictional? Check out the rest of the <a href="http://frictionalgames.blogspot.fi/search/label/PeopleOfFrictional" target="_blank">People of Frictional</a> posts!</i><br />
<br />Unknownnoreply@blogger.com4tag:blogger.com,1999:blog-9193968969153274146.post-47252906859472235222018-02-28T16:31:00.000+01:002018-04-30T14:08:02.188+02:00People of Frictional: Max Lidbeck<h3>
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WHO AM I</h2>
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I’m Max, and I do gameplay programming and design. I joined Frictional about a year and a half ago, and I’ve been working on one of our super secret projects since.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaorAQAO9hcROH5t5grxJBDIsIGxPP2kIspQ_jNHFBldfkJuu8zOI3iSDCbkK9vo5BJlnZskGKKyh_xDn3XbGrs7AnD7uoNvD774E0SdgC4GTF7tu9ne9Llzl6C2hc1RTMpG6pqDAw923E/s1600/img_3744_1024.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="750" data-original-width="641" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaorAQAO9hcROH5t5grxJBDIsIGxPP2kIspQ_jNHFBldfkJuu8zOI3iSDCbkK9vo5BJlnZskGKKyh_xDn3XbGrs7AnD7uoNvD774E0SdgC4GTF7tu9ne9Llzl6C2hc1RTMpG6pqDAw923E/s400/img_3744_1024.jpg" width="341" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Yours truly.</td></tr>
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For the first nine months or so I, like everyone else, worked from home. Last summer we got an office set up in the heart of Malmö. Since then the amount of days I spend working from home has reduced greatly, though I still do it from time to time.<br />
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<tr><td class="tr-caption" style="text-align: center;">Setup at home and at work.</td></tr>
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These are my two workspaces, the first one in the office and the other one at home (which is rather bare bones right now, moved in just a couple of days ago!). They’re quite similar; both the computers and the chairs are the same kind. I wanted to be even more consistent and get the same type of desk as the office one at home, a decision that was ultimately overruled by my better half (apparently it doesn’t go with the rest of the decor).<br />
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BACKGROUND</h2>
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Games have always been a big part of my life. Most of my time growing up was spent either playing games or talking about games. But, for quite a while, my family didn’t have a PC. Which meant I was stuck playing all sorts of old, weird games on rapidly aging Apple computers. One of my earliest gaming memories consist of repeatedly failing at air-hockey, losing to a hideous pig-man in Shufflepuck Cafe on my dad’s old Macintosh.<br />
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Eventually I scraped together enough money to put together my first PC, in front of which I would stay rooted for the following years. In addition to playing, I spent a lot of time creating custom content for games with my friends. It was always quite basic though, as I hadn’t learned any programming yet.<br />
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For a year or so I studied film and media studies at the university, with a diffuse goal of wanting to work in games down the line. One night my girlfriend gave me a push, and I applied for a three-year game development program at Blekinge Institute of Technology (BTH).<br />
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My years at BTH were a mixed bag. On one hand, we had a lot of freedom and got to work on tons of small projects, which was very fun and super rewarding. On the other hand, some courses felt like they were only marginally related to game development. Working on side-projects during your spare time was crucial. I got through it all by finding a good group of like-minded students that I stuck to for the entirety of the education. Our final project was a side-scrolling adventure game called Far Away - you can watch the trailer for it on <a href="https://www.youtube.com/watch?v=vIhajjIN4is">Youtube</a>.<br />
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Perfectly in sync with graduating, I stumbled across a job opening at Frictional and sent in an application. Over the following weeks I answered some additional questions, did a work test and finally had an interview. A couple of days before I would hear from Frictional, I got a job offer from another company in software development. I clumsily explained to them I was waiting on another offer and asked for a few more days. Finally, I got an email from Fredrik and Thomas offering me the job. It was a no-brainer, and I happily accepted.<br />
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WHAT I DO</h2>
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My first few weeks at the company consisted of completing a list of introductory tasks, to learn more about the tools and the engine. This was a lot of fun, and culminated in the creation of a silly mini-game where I got to put everything I had learned to the test.<br />
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After I had completed the introductory tasks I got to work on Safe Mode for SOMA, which was something I was really excited about -- contributing to a game I truly thought was great. From the get-go, we felt it was important to maintain the monsters’ threatening presence in order for their new behaviours to gel with the overall tone of the game. We couldn't just disable their ability to harm you; doing this would end up breaking immersion (imagine repeatedly throwing a toolbox in Akers' face and him just standing there, taking it). Instead, we tried to focus on how to best tweak each monster's behaviour in a manner that suited that particular encounter. For instance, some might eerily walk up to you and size you up, and can even bluff charge you if you’ve strayed too close. To further enforce the behaviours fitting with the world, we decided that if you were to actively mess with monsters (like invading their personal space for too long, hurling trash at them and so on), they should still be able to hurt you, just not kill you. Overall it was a very worthwhile experience, and I'm quite happy with how it all turned out.<br />
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Now I’m working on one of our secret projects. As the gameplay programmer/designer workflow has already been described in previous posts I won’t go into detail, but my days in general are spent designing and scripting events and scenes, as well as programming gameplay systems.<br />
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THE OFFICE</h2>
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Additionally, I thought I’d talk a bit about the differences in working from home compared to working in the office. We’re also gonna do a proper office tour later on, so stay tuned!<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilQYvwlqcAhepCXqlin1TAWL_q6mNCiVcQqmVVDQxf08N_eruK_JqOeiS2nekySK8HnvLJWX7n4NDBJcWRxfQMiLlP50T-MYni14CQkFWlvLyk5jgrEtQIsrbctC8ALHLCXhOWMLLrHuts/s1600/office.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1289" data-original-width="1600" height="321" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilQYvwlqcAhepCXqlin1TAWL_q6mNCiVcQqmVVDQxf08N_eruK_JqOeiS2nekySK8HnvLJWX7n4NDBJcWRxfQMiLlP50T-MYni14CQkFWlvLyk5jgrEtQIsrbctC8ALHLCXhOWMLLrHuts/s400/office.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This is where the magic happens.</td></tr>
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This is our office! Currently, we’re around seven people occupying this space, probably with more to come. It’s quite seldom all of us are here at once though, but there are usually a few people around. And on the off chance that you’re here by yourself one day, fear not; there’s always the noisy, seemingly stiletto heel-wearing, tap-dancing travel agency crew upstairs to keep you company (seriously).<br />
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So, it really isn’t all that crowded here. But, seeing as most of us don’t work from the office, we often have meetings over Slack. It can easily get annoying for your desk-mates if you keep babbling on and on in various meetings throughout the day, which is why we’ve set up a separate meeting room. It also moonlights as a test room, complete with a TV, some dev kits and a monster webcam.<br />
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The fact that the company is split into people working from home and people working in the office could potentially lead to complications, such as communication issues. In order to prevent this we’ve made sure that all important decisions and discussions still happen over Slack, to keep everyone in the loop. So far this policy has worked well, and the transition has been quite smooth.<br />
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In the end, a typical day of work in the office is very similar to one at home. There is of course the added social aspect of working in the same physical space as you colleagues, which is great, but if you one morning feel like you’d rather stay at home and work, you can. Having this option every day really is quite luxurious.<br />
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Other than this, and the requirement to wear pants, the routines of working in the office and and working from home differ very little.<br />
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<i>Wanna see who else works at Frictional? Check out the rest of the <a href="http://frictionalgames.blogspot.fi/search/label/PeopleOfFrictional" target="_blank">People of Frictional</a> posts!</i><br />
<br />Unknownnoreply@blogger.com13tag:blogger.com,1999:blog-9193968969153274146.post-60472092589156323952018-02-22T16:22:00.000+01:002019-02-20T17:06:44.197+01:00Q&A with Frictional writer Ian Thomas<div dir="ltr" style="line-height: 1.38; margin-bottom: 0pt; margin-top: 0pt;">
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On the last day of the cold January Will from Extra Credits sat down to stream SOMA, and for the first few hours of the game he was joined by his friend and Frictional employee Ian Thomas. Ian worked on scripting, coding, and level design for SOMA, and is now the Story Lead on one of Frictional’s two upcoming projects. During the stream he answered some questions from the viewers, ranging from what type of pizza he thinks Simon had in his fridge, to ways of minimising dissonance between the player and the character in a narrative game.<br />
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In this blog we’ve compiled the best questions and answers into an easily readable form. So go get a beverage of your choice and dive into the everyday life at Frictional, narrative game design and tips on networking in the industry! Or, if you’re not the reading type, you can also watch the whole video <a href="https://www.twitch.tv/videos/224342533">on Twitch</a>.<br />
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Have some other questions? Hit us up on <a href="https://twitter.com/frictionalgames">Twitter</a> and we will try to answer the best we can!<br />
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(Picture commentary from your favourite community manager/editor of this blog, Kira.)<br />
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<b>Q: Does the Frictional team scare each other at the office?</b><br />
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We didn’t have an office until recently, and even now most people are still remote, so not really!<br />
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The thing about being behind the scenes in horror is that it’s very difficult to scare yourself, and each other, because you know what’s going on. We do play each others’ levels every other week, and it’s always brilliant to get a decent scare out of a coworker.<br />
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Otherwise we don’t hide in the office cupboards or anything like that… regularly.<br />
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<b>Q: Is it true that developers don’t actually play their games?</b><br />
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No - we play our games thousands of times, and most developers do!<br />
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It does depend on where you sit in the development chain. If you work for a very big company and only do something like facial models, you might rarely play the game until it’s close to completion. But in a team the size of Frictional everyone plays the game all the time. That’s how we get our primary feedback and develop our levels before the game goes anywhere near alpha testers.<br />
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<b>Q: How about after they’re released?</b><br />
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Probably not that often. For me personally there are two reasons, which both have to do with time. Firstly, I’m probably already working on a new thing. Secondly, during the short downtime after a release I’m trying to catch up on games I had to put aside during development. But it depends: for example, when I worked on LEGO games I would later play them with friends, because they’re so much fun to sit down and co-op play.<br />
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For a couple of years after the release you might be fed up with your game and not want to see it, but then you might come back to it fresh. With SOMA I sometimes tune into livestreams, especially if I’m feeling down. That’s one of the kicks you get out of this stuff – knowing which parts of the game people are going to react to, and getting to watch those reactions! That’s the best payoff.<br />
<br />
<br />
<b>Q: Did the existential dread of SOMA ever get to the team?</b><br />
<br />
It’s a little different for the dev team, as the horror is a slow burn of months and months, whereas for the players it comes in a short burst. The philosophical questions affected people in different ways, but I don’t think we broke anyone. As far as I know we’re all fine, but given that a lot of us work remotely, it could well be that one of us is deep in Northern Sweden inscribing magical circles in his front room and we just don’t know...<br />
<br />
<br />
<b>Q: Why did SOMA get a Safe Mode?</b><br />
<br />
SOMA was originally released with monsters that could kill you, and that put off some people that were attracted to the themes, the sci-fi and the philosophy, because they saw the game as too scary or too difficult. Thomas and Jens had discussed a possible safe mode early on, but weren’t sure it would work. However, after the game came out, someone in the community released the Wuss Mod that removed the monsters, and that and the general interest in the themes of the game made us rethink. So now we’ve released the official Safe Mode, where the monsters still attack you, but only if you provoke them – and even then they won’t kill you.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix8qLXFNk7_OjUWb_Ljnp6-LX9rmxwIGDabux_juTO28QfjcfS2qLqpbA2OsfLnHt5s32hOYHIbBxCIZbq7NDmwWPtEROh6Hj-tkf0Otw0LAoxGqytrrQQXI3ZSgpQnX9wy0rN7i_EZvmY/s1600/ian%2527s+blog+1.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="500" data-original-width="1500" height="132" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEix8qLXFNk7_OjUWb_Ljnp6-LX9rmxwIGDabux_juTO28QfjcfS2qLqpbA2OsfLnHt5s32hOYHIbBxCIZbq7NDmwWPtEROh6Hj-tkf0Otw0LAoxGqytrrQQXI3ZSgpQnX9wy0rN7i_EZvmY/s400/ian%2527s+blog+1.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">You can now avoid one of these three death screens!</td></tr>
</tbody></table>
<br />
The concept of death in games is a strange one. All it really means is that you go back to a checkpoint, or reload, and all the tension that’s built up goes away. The fact is that game death is pretty dull. It becomes much more interesting when it’s a part of a mechanic or of the story. We at Frictional have talked about it internally for a while, but it’s something we’ve never really gotten a satisfactory answer to.<br />
<br />
So, all in all, even if you turn on Safe Mode, it’s not that much different from playing the game normally.<br />
<br />
<br />
<b>Q: What type of pizza does Simon have in his fridge?</b><br />
<br />
Meat lovers’, definitely.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBDTvs7dBJzWLoUmDmSrUJjibUiR7GaBX4tdeEj0j9FUZ7SIjG9aoU5ipWzmxD2pLphjGr1S7eDSCzWlvNSgyAVeJSFyKAmHc0_HCvb6SDStr7V6o2Cv1lKghBfQzVp1PtoQYwrFNKsdcf/s1600/ian%2527s+blog+pizza.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="487" data-original-width="664" height="292" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBDTvs7dBJzWLoUmDmSrUJjibUiR7GaBX4tdeEj0j9FUZ7SIjG9aoU5ipWzmxD2pLphjGr1S7eDSCzWlvNSgyAVeJSFyKAmHc0_HCvb6SDStr7V6o2Cv1lKghBfQzVp1PtoQYwrFNKsdcf/s400/ian%2527s+blog+pizza.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Schrödinger's pizza! And a Mexicana. Unless they mixed it up at the factory. In which case it's also a Schrödinger's pizza.</td></tr>
</tbody></table>
<br />
<br />
<b>Q: What was the funniest or hardest bug to fix in SOMA?</b><br />
<br />
There were so many! You can find some of the stuff in the supersecret.rar file that comes with the installation.<br />
<br />
I spent a lot of time fixing David Munshi. His animation really didn’t behave and he kept leaping around the place. He was so problematic, especially in this sequence where he was supposed to sit down in a chair and type away at the keyboard. We had so much trouble with that - what if the player had moved the chair? We couldn’t lock it in place, because we want the player to be able to mess with these things. We went around trying to come up with an answer for ages.<br />
<br />
And then someone on the team went: “Standing desk!”. Problem solved! It’s silly little things like this which tie up your time.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFk7Mz0SVs0c0WDh_X1Stqp5JEvPGVFEGjR0vr1-bFMknWlbiTe7M-901q6E04SOfakNvsvDZybdEd0g1YkXUxVrRkTWH0jPizaG-GvBXyqo5Eu5d29i59hV-EVD2D3KJI2tTYITIJuXU8/s1600/ian%2527s+blog+munshi.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="582" data-original-width="576" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFk7Mz0SVs0c0WDh_X1Stqp5JEvPGVFEGjR0vr1-bFMknWlbiTe7M-901q6E04SOfakNvsvDZybdEd0g1YkXUxVrRkTWH0jPizaG-GvBXyqo5Eu5d29i59hV-EVD2D3KJI2tTYITIJuXU8/s400/ian%2527s+blog+munshi.png" width="395" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">For all you thirsty Munshi lovers out there. You know who you are.</td></tr>
</tbody></table>
<br />
Another similar element was the Omnitool. It was a fairly major design thing that we came up with to connect the game characters, and to gate scenarios. We were struggling trying to tie these things together, and then it was just one of those days when someone came up with one single idea that solved so many problems. It was a massive design triumph – even if we realised later that the name was a bit Mass Effect!<br />
<br />
<br />
<b>Q: Why does using items and elements in Frictional’s games mimic real movements?</b><br />
<br />
This is one of Thomas’s core design principles: making actions like opening doors and turning cranks feel like physical actions. It binds you more closely into the game and the character, on an unconscious level. We’ve spent an awful lot of time thinking about ways to collapse the player and the character into one and make the player feel like a part of the world. It’s a subtle way of feedback that you don’t really think about, but it makes you feel like you’re “there”.<br />
<br />
There’s an interesting difference between horror games and horror films in this sense. You would think that horror movies are scarier because you’re dragged into the action that moves on rails and there’s nothing you can do about it. But for me that kind of horror is actually less scary than the kind in games, where you have to be the person to push the stick forward.<br />
<br />
We try to implement this feedback loop in other elements of the game too, like the sound design. When a character is scared it makes their heartbeat go up, which makes the player scared, which makes their heartbeat go up in turn, and so on.<br />
<br />
<br />
<b>Q: Why didn’t SOMA reuse enemies?</b><br />
<br />
It obviously would have been much cheaper to reuse the monsters. But in SOMA it was a clear design point, since each of the enemies in SOMA was trying to advance the plot, get across a particular point in the story, or raise a philosophical question. Thus, the enemies were appropriate to a particular space or a piece of plot and it didn’t make sense to reuse them.<br />
<br />
<br />
<b>Q: Did SOMA start with a finished story, or did it change during development?</b><br />
<br />
The story changed massively over the years. I came on to the game a couple of years into development, and at that time there were lots of fixed points and a general path, but still a lot changed around that. As the game developed, things got cut, they got reorganized, locations changed purpose, and some things just didn’t work out.<br />
<br />
Building a narrative game is an ever-changing process. With something like a platformer you can build one level, test the mechanics, then build a hundred more similar levels iterating on and expanding those core mechanics. Whereas in a game like this you might build one level in isolation, but that means you don’t know what the character is feeling based on what they’ve previously experienced.<br />
<br />
You don’t really know if the story is going to work until you put several chapters together. That’s why it’s also very difficult to test until most of it is in place. Then it might suddenly not work, so you have to change, drop and add things. There’s quite a lot of reworking in narrative games, just to make sure you get the feel right and that the story makes sense. You’ve probably heard the term “kill your darlings” – and that’s exactly what we had to do.<br />
<br />
A lot of the things were taken out before they were anywhere near complete – they were works in progress that were never polished. Thus these elements are not really “cut content”, just rough concepts.<br />
<br />
<br />
<b>Q: The term “cut content” comes from film, and building a game is closer to architecture or sculpting. Would there be a better name for it?</b><br />
<br />
A pile of leftover bricks in the corner!<br />
<br />
<br />
<b>Q: How do you construct narrative horror?</b><br />
<br />
Thomas is constantly writing about how the player isn’t playing the actual game, but a mental model they have constructed in their head. A lot of our work goes into trying to create that model in their head and not to break it.<br />
<br />
A central idea in our storytelling is that there’s more going on than the player is seeing. As a writer you need to leave gaps and leave out pieces, and let the player make their own mind up about what connects it all together.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFZWxRJEL8MKLOxXE_gWWCGvQMinMtQFo4UeZ00UTlDGYb5a6EvzodrE2zxF9Ckw9Kk8x5G6vXaxYQ2STHXHYcYfAAALexGe9lDmOksWb7-M0CJVgMwqRhxgFDYAmZEbj0bFjOojIZQUSC/s1600/ian%2527s+blog+show+less.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFZWxRJEL8MKLOxXE_gWWCGvQMinMtQFo4UeZ00UTlDGYb5a6EvzodrE2zxF9Ckw9Kk8x5G6vXaxYQ2STHXHYcYfAAALexGe9lDmOksWb7-M0CJVgMwqRhxgFDYAmZEbj0bFjOojIZQUSC/s400/ian%2527s+blog+show+less.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">You'll meet a tall, dark stranger...</td></tr>
</tbody></table>
<br />
From a horror point of view there’s danger in over-specifying. Firstly having too many details makes the story too difficult to maintain. And secondly it makes the game lose a lot of its mystery. The more you show things like your monsters, the less scary they become. A classic example of this is the difference between Alien and Aliens. In Alien you just see flashes of the creatures and it freaks you out. In Aliens you see more of them, and it becomes less about fear and more about shooting.<br />
It’s best to sketch things out and leave it up to the player’s imagination to fill in the blanks – because the player’s imagination is the best graphics card we have!<br />
<br />
There are a lot of references that the superfans have been able to put together. But there are one or two questions that even we as a team don’t necessarily know the answers to.<br />
<br />
<br />
<b>Q: How do you keep track of all the story elements?</b><br />
<br />
During the production of SOMA there was an awful lot of timeline stuff going on. Here we have to thank our Mikael Hedberg, Mike, who was the main writer. He was the one to make sure that all of the pieces of content were held together and consistent across the game. A lot of the things got rewritten because major historical timelines changed too, but Mike kept it together.<br />
<br />
During the development we had this weird narrative element we call the double apocalypse. At one point in writing most of the Earth was dead already because of a nuclear war, and then an asteroid hit and destroyed what was left. We went back and forth on that and it became clear that a double apocalypse would be way over the top and coincidental. So we edited the script to what it is now, but this has resulted in the internal term ‘that sounds like a double apocalypse’, which is when our scripts have become just a bit too unbelievable or coincidental.<br />
<br />
<br />
<b>Q: How do you convey backstories, lore, and world-building?</b><br />
<br />
Obviously there are clichés like audio logs and walls of text, but there is a trend to do something different with them, or explaining the universe in a different way. But the fundamental problem is relaying a bunch of information to the player, and the further the world is from your everyday 21st century setting, the more you have to explain and the harder it is. So it’s understandable that a lot of games do it in the obvious way. The best way I’ve seen exposition done is by working it into the environment and art, making it part of the world so that the player can discover it rather than shoving it into the player’s face.<br />
<br />
<br />
<b>Q: How do you hook someone who disagrees with the character?</b><br />
<br />
It’s hard to get the character to say and feel the same things as what the player is feeling. If you do it wrong it breaks the connection between the player and the character, and makes it far less intense. Ideally, if the player is thinking something, you want the character to be able to echo it. We spend a lot of time taking lines out so the character doesn’t say something out of place or contrary to what the player feels.<br />
<br />
With philosophical questions there are fixed messages you can make and things you can say about the world, but that will put off a part of the audience. The big thing when setting moral questions or decisions is that you should ask the question instead of giving the answer. If you offer the players a grey area to explore, they might even change their minds about the issue at hand.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgQuP_ocTRvK6Z1_VVRjhQkL36seqSQmp9aC-4OXL5tbLSlhDbb1GXg0XGp8eARhmXWUzfNKbRiRiPM3J4nYvBsvrWpmZ92CRL1Ij9AqaNSaEn7niVhuDXskIH6jUmXAkYFSpTzhoF-HM/s1600/ian%2527s+blog+moral+dilemma.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="602" data-original-width="1215" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJgQuP_ocTRvK6Z1_VVRjhQkL36seqSQmp9aC-4OXL5tbLSlhDbb1GXg0XGp8eARhmXWUzfNKbRiRiPM3J4nYvBsvrWpmZ92CRL1Ij9AqaNSaEn7niVhuDXskIH6jUmXAkYFSpTzhoF-HM/s400/ian%2527s+blog+moral+dilemma.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">To murder or not to murder, that is the question.</td></tr>
</tbody></table>
<br />
<br />
<b>Q: How do you write for people who are not scared of a particular monster or setting?</b><br />
<br />
In my experience the trick is to pack as many different types of fear in the game as you can, and picking the phobias that will affect the most people. If there’s only one type of horror, it’s not going to catch a wide enough audience. Also, if you only put in, say, snakes, anyone who isn’t afraid of snakes is going to find it dull.<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVKRc4QcXEyGZDbDJ9Dp3K4GBYN4tgx8P2W-zsyGxH4LFjJrDrIUPA9hrNmARulMvd5V8ettpBaRu_VYWX-L1xp6ajk69rtxfv9t5vGL-r6PNPSHA7l4zyyfXOWFWTJAMXWU8foCuCCum7/s1600/ian%2527s+blog+spider.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="396" data-original-width="629" height="251" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVKRc4QcXEyGZDbDJ9Dp3K4GBYN4tgx8P2W-zsyGxH4LFjJrDrIUPA9hrNmARulMvd5V8ettpBaRu_VYWX-L1xp6ajk69rtxfv9t5vGL-r6PNPSHA7l4zyyfXOWFWTJAMXWU8foCuCCum7/s400/ian%2527s+blog+spider.PNG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">We probably peaked in our first game. What's worse than spiders? (Not representative of the company's opinion.)</td></tr>
</tbody></table>
<br />
<br />
<b>Q: What’s the main thing you want to get across in games?</b><br />
<br />
The key thing is that the players have something they will remember when they walk away from the game, or when they talk about it with other people. It’s different for different games, and as a developer you decide on the effect and how you want to deliver it. In games like Left 4 Dead delivery might be more about the mechanical design. In other games it’s a particular story moment or question.<br />
<br />
In SOMA the goal was not to just scare the players as they’re looking at the screen, it was about the horror that they would think about after they put the mouse or controller down and were laid in bed thinking about what they’d seen. It was about hitting deeper themes. Sure, we wrapped it in horror, but the real horror was, in a way, outside the game.<br />
<br />
<br />
<b>Q: What does SOMA stand for?</b><br />
<br />
It has many interpretations, but I think the one Thomas and Mike were going for was the Greek word for body. The game is all about the physicality of the body and its interaction with what could be called the spirit, mind, or soul – the embodiment of you.<br />
<br />
The funniest coincidence was when we went to GDC to show the game off to journalists before the official announcement. We hadn’t realised there is a district in San Francisco called Soma, so we were sitting in a bar called Soma, in the Soma district, about to announce Soma!<br />
<br />
As to why it’s spelled in all caps – it happened to look better when David designed the logo!<br />
<br />
<br />
<b>Q: Does this broken glass look like a monster face on purpose?</b><br />
<br />
I’m pretty sure it’s not on purpose – it’s just because humans are programmed to see faces all over the place, like socket plugs. It’s called pareidolia. But it’s something you can exploit - you can trick people into thinking they’ve seen a monster!<br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBala6qx62Oy33Zr8flECHK3aLrje1maukGyIhr95lx-gCFwIj2wmYvp9BquPxpb1vRlLv7v_2rSn-TnPmZVz81HS-i7lQ48FJkEVqf-83fZXJ4w6McJgcYHCvqnxP0CIETcMuOoSDcIiJ/s1600/ian%2527s+blog+monster+face.PNG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="636" data-original-width="1170" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBala6qx62Oy33Zr8flECHK3aLrje1maukGyIhr95lx-gCFwIj2wmYvp9BquPxpb1vRlLv7v_2rSn-TnPmZVz81HS-i7lQ48FJkEVqf-83fZXJ4w6McJgcYHCvqnxP0CIETcMuOoSDcIiJ/s400/ian%2527s+blog+monster+face.PNG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">This window is out to get you!</td></tr>
</tbody></table>
<b><br /></b>
<b><br /></b>
<b>Q: What is the best way to network with the industry people?</b><br />
<br />
Go to industry events, and the bar hangouts afterwards!<br />
<br />
It’s critical, though, not to treat it as “networking”. Let’s just call it talking to people, in a room full of people who like the same stuff as you. It’s not about throwing your business cards at each other, it’s about talking to them and finding common interests. Then maybe a year or two down the line, if you got on, they might remember you and your special skills or interests and contact you. Me being on Will’s stream started with us just chatting. And conversations I had in bars five years ago have turned into projects this year.<br />
<br />
You have to be good at what you do, but like in most industries, it’s really about the people you know. I’m a bit of an introvert myself, so I know it’s scary. But once you realise that everybody in the room is probably as scared as you, and that you’re all geeks who like the same stuff, it gets easier.<br />
Another good way to make connections is attending game jams. If you haven’t taken part in one, go find the nearest one! Go out, help your team, and if you’re any good at what you do, people will be working with you soon.<br />
<br />
<br />
<b>Q: Can you give us some fun facts?</b><br />
<br />
Sure!<br />
<br />
- You can blame the “Massive Recoil” DVD in Simon’s room on our artist, David. A lot of the things in Simon’s apartment are actually real things David has.<br />
<br />
- We try to be authentic with our games, but out Finnish sound guy Tapio Liukkonen takes it really far. We have sequences of him diving into a frozen lake with a computer keyboard to get authentic underwater keyboard noises. It’s ridiculous.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://i.ytimg.com/vi/EJ_Yv6bKdj8/0.jpg" frameborder="0" height="266" src="https://www.youtube.com/embed/EJ_Yv6bKdj8?feature=player_embedded" width="320"></iframe></div>
<br />
<br />
- Explaining SOMA to the voice actors was challenging – especially to this 65-year-old British thespian, clearly a theatre guy. Watching Mike explain the story to him made me think that the whole situation was silly and the guy wasn’t getting the story at all. And then he went into the studio and completely nailed the role.<br />
<br />
- There’s a lot of game development in Scandinavia, particularly in Sweden and Norway, because it’s dark and cold all the time so people just stay indoors and make games. Just kidding… or am I?</div>
</div>
Unknownnoreply@blogger.com9tag:blogger.com,1999:blog-9193968969153274146.post-9709035435444245762017-11-30T15:18:00.002+01:002018-02-19T13:03:44.125+01:00What is SOMA's Safe Mode?Tomorrow we will be releasing <a href="https://www.microsoft.com/en-us/store/p/soma/c23m2tc1zfpj">SOMA for Xbox One</a> and along with this comes Safe Mode. This is a new way of playing the game that will also be available via Steam and GOG at the same time.<br />
<br />
Since we announced Safe Mode there have been a lot of questions about it, so we thought this would be a good time to answer some of those and to clear up a few things. Here goes:<br />
<br />
<b><br /></b>
<b>What is Safe Mode?</b><br />
It is a version of the game where you cannot die - you are safe from harm. The game’s various creatures are still there, they just won’t attack you. If you’ve heard of the SOMA Steam mod <a href="https://steamcommunity.com/sharedfiles/filedetails/?l=swedish&id=560988617">“Wuss Mode”</a>, by steam user <a href="https://steamcommunity.com/id/koopakidshyguy">The Dreamer</a>, then you should know the basic idea. The important thing to point out is that we don’t simply turn off the creature’s ability to attack and harm you. Instead, we’ve redesigned their behavior. Our goal has been for Safe Mode to not feel like a cheat, but for it to be a genuine way of experiencing the game. So we’ve considered what each creature should be doing, given their appearance, sound, and voice.<br />
<br />
You can pick between Safe Mode and normal mode when starting up a new game.<br />
<br />
<b>Is the game still scary?</b><br />
This obviously depends on what scares you, but the short answer is: yes, the game is still a horror game. However, since you can explore without a constant fear of failure, you will no longer have that type of tension. For people who aren’t great at handling that aspect of horror gameplay, their journey through SOMA will be a lot easier in Safe Mode. But if it is the overall atmosphere that gets to you in a horror game - and, above all, the central themes - then game will still have plenty to be scared of.<br />
<br />
<b>What is the major difference in gameplay?</b><br />
All of the puzzles, events, and so forth are still there. The big difference is that you’ll no longer have to sneak past enemies. You don’t need stealth in order to complete the game. Monsters might sound and act more threatening if they spot you, so there is still an incentive to being careful, but it’s no longer mandatory to keep hidden. This will also allow you to explore some of environments more carefully.<br />
<b><br /></b>
<b>Why release it now?</b><br />
We actually considered releasing something similar at launch, but chose not to because we felt it would make the core intent of the game too unfocused. As people started to say that they really wanted to play the game and experience the philosophical sci-fi narrative, but couldn’t because of the monsters, we started considering doing something about it. People liking the “Wuss Mode” mod was a good sign that we could solve this. However going back to a game you have already completed is not tempting so we put it off.<br />
<br />
What eventually tipped the scales was the Xbox release where we wanted an extra feature to make the launch more interesting. Adding some sort of no-monster mode felt like the best option, and so Safe Mode was born! It also felt like it had been long enough since the original release, and the intended version of the game had been played and evaluated enough. Adding a new play mode wouldn’t be a problem.<br />
<br />
<b>Will it come to PS4?</b><br />
Yes! We hope to have it ready about 2 months from now. Sorry for not releasing it now, but a couple of issues have kept us from doing a simultaneous launch of Safe Mode.<br />
<br />
<br />
I hope that clears things up! Let us know in the comments if you have any other questions!<br />
<div>
<br /></div>
Thomashttp://www.blogger.com/profile/02945983378935089787noreply@blogger.com41tag:blogger.com,1999:blog-9193968969153274146.post-77173754434114068872017-10-27T11:44:00.001+02:002018-05-21T15:38:28.534+02:00Now Hiring: Community Manager and Event Coordinator<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSm_lF9zyR7hThX11uNxckaXgJcMSD3ZzVLT7QKb1dmCaIJUGb_SxgL1tS4SzY5r9aNqe7gvJrFdi10k1Eo4KQzHk16Len9Wkk9UkDVZibarcUvUgYABFP1kuDhAn6vjcXi5RmFEFJDuMo/s1600/soma-listing-thumb-01-ps4-eu-15june15.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="518" data-original-width="920" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSm_lF9zyR7hThX11uNxckaXgJcMSD3ZzVLT7QKb1dmCaIJUGb_SxgL1tS4SzY5r9aNqe7gvJrFdi10k1Eo4KQzHk16Len9Wkk9UkDVZibarcUvUgYABFP1kuDhAn6vjcXi5RmFEFJDuMo/s400/soma-listing-thumb-01-ps4-eu-15june15.png" width="400" /></a></div>
<br />
We are now looking for a <b>"Community Manager and Event Coordinator"</b> for our company. This will be a very broad role and we are looking for someone who is very driven and creative. The tasks will range from the simple, such as:<br />
<ul>
<li>Managing our social media accounts and platform-specific communication channels (such as Steam communities and PS4 Game hub).</li>
<li>Answering various emails.</li>
<li>Coordinating and booking special internal and external events.</li>
</ul>
It will also include much more complex tasks such as:<br />
<ul>
<li>Planning and coordinating PR for a new game release.</li>
<li>Making plans for improving our social media and implementing these.</li>
<li>Overseeing a revamp of all our webpages (company and game-specific).</li>
<li>Becoming the company’s catalyst for generating interesting posts and events on all of our public channels.</li>
</ul>
<br />
The basic requirements are as follows:<br />
<ul>
<li>It’s crucial that you are a person who is highly able to work on your own initiative. No one will be laying out an exact schedule of things that you must do - you will need to drive your own workload. You will also need to be a creative member of the team, bringing a lot of your own ideas and suggestions to the table and then going on to implement them when possible.</li>
<li>You must live in Sweden or be prepared to move here. Note that any employment starts with a six month trial period, and there is no need to move until that is over.</li>
<li>You must have excellent writing skills in English.</li>
<li>You need good knowledge of how social media, such as Twitter and Facebook, works.</li>
<li>You should have a burning interest in video games and an understanding of the market.</li>
</ul>
It’s worth noting that we do not require any special education or experience. While these are of course good to have, what really matters is that you fit the requirements above.<br />
<br />
<br />
In order to apply, start by doing the following assignments:<br />
<ol>
<li>Imagine that SOMA is about to be released. Write a short (at most 150 words) and playful cover letter that will be sent out with all of the review copies of the game.</li>
<li>We really need to become much more frequent in our social media usage and communicate what we do as a company and what we are like as individuals. In 200 words or less, explain how you would try to go about increasing the number of interesting posts on our social media channels.</li>
<li>An angry user has written an email complaining that our games have all become worse since Penumbra, as they no longer have proper puzzles and gameplay. Write a response.</li>
<li>Being proactive and self-starting is crucial for this position. Therefore, write your own question similar to the ones above and answer it.</li>
</ol>
Compile these into a PDF that has a pleasing layout and send it, along with your CV, to <a href="mailto:apply@frictionalgames.com">apply@frictionalgames.com</a>.<br />
<br />
<b><span style="font-size: large;">Privacy Policy</span></b><br />
By sending us your application, you give us permission to store your personal information and attachments.<br />
<br />
We store all applications in a secure system. The applications are stored for two years, after which they are deleted. If you want your your information removed earlier, please contact us through our <a href="https://www.frictionalgames.com/site/contact" target="_blank">Contact form</a>. Read more in our <a href="https://www.frictionalgames.com/site/privacypolicy" target="_blank">Privacy Policy</a>.Thomashttp://www.blogger.com/profile/02945983378935089787noreply@blogger.com5tag:blogger.com,1999:blog-9193968969153274146.post-70850731343805553932017-09-27T16:10:00.000+02:002017-09-27T16:10:45.589+02:00SOMA - Two Years Later<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW7tw3tCfWqWDWSe0bgzW024s9SjL482tpl9YUUFu4bjT-8ADH5iSfS9epQ0Wdyj8XRIGihrYuf6bGZG1uwdolkxZtG-deNk7FDrjPioO72D-L9SUTdPN6Jf2FBAWwtRUeoC4fVOOEK59q/s1600/20708719573_4bec71a1f3_b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="576" data-original-width="1024" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW7tw3tCfWqWDWSe0bgzW024s9SjL482tpl9YUUFu4bjT-8ADH5iSfS9epQ0Wdyj8XRIGihrYuf6bGZG1uwdolkxZtG-deNk7FDrjPioO72D-L9SUTdPN6Jf2FBAWwtRUeoC4fVOOEK59q/s400/20708719573_4bec71a1f3_b.jpg" width="400" /></a></div>
<br />
It's over two years since we released SOMA, so it's time for another update on how things have been going.<br />
<br />
First of all, let's talk about sales. As I've said many times before, sales are not straightforward to count, and the number you come up with is reliant on many different factors. For instance, SOMA was part of the Humble Monthly Bundle, which meant that everybody subscribing to that service was able to download a copy of SOMA. These are not really "sales", so should we count them? It's also worth noting that pricing differs a lot between different sales. A single unit sold at full price means more than one sold when the game is 75% off. I think it's important to think about these things, and remember you can't directly compare the sales of two games.<br />
<br />
With all that said, what I'm going to do here is to basically take every single download of the game as a sale. Doing so gives us a total of <b>650 000 units,</b> a 200 000 units increase since the <a href="http://frictionalgames.blogspot.se/2016/09/soma-one-year-later.html">the same time last year</a>. This is a very good result.<br />
<br />
It's interesting to compare how sales have changed across the two years for SOMA. The normal day-to-day income, when there are no discounts or anything, is 33% of what it was the same time last year. However, when the game is at a discount (such as a Steam summer sale), the generated income is about 75% of what similar events generated last year. This means that discount events are extra important this year.<br />
<br />
Taken as a whole, the sales that we make from all our games will cover all our expenses every month, and even make us a profit. This is quite amazing. Given that we currently have about 16 people working with us full time, we have a pretty high burn rate, and to still be able to support all that on your ongoing sales is great.<br />
<br />
This means that we still have a good buffer from our launch sales. While it will by no means last forever, it gives us peace of mind and lets us take the time we need. While we'll continue to generate income next year too, I'm not so sure it'll be enough to cover all our costs. This is when that initial buffer comes in handy, and will let us continue working on our projects without any monetary worries. To put things in perspective, it is worth noting that most companies start using up their buffer just a few months after release, so we are in no ways in a dire situation right now - quite the opposite!<br />
<br />
However, this also makes it very clear that we need to be able to release games at a more regular rate. We were lucky that SOMA was a hit, and that the money is easily able to sustain us for the time we need to complete our next project. Had SOMA been a flop, the situation would have been a lot worse now. That's why we are focusing on becoming a two project studio, and the goal is to be able to release a game every two years. Had we managed to set that up prior to SOMA, we would be in the process of releasing a game right now. Needless to say, it would makes us a lot more financially stable, and able to handle a less successful release. In turn this should allow us to take greater risks, which I think is a key element in being able to create great games.<br />
<br />
This leads me to another thing that's been on my mind. A few months back someone asked me: "How do you get people to buy your game?". This is a fairly basic question, but it really made me think. When it comes to sales made during launch, the answer feels quite self-evident. We generate a lot of buzz, there are reviews, let's plays and so on. There are a number of fairly obvious ways that people learn about our game.<br />
<br />
But what about the customers that buy our game two years after release - why do they do it? That's a much harder question. I think most of this is via word-of-mouth recommendation. When the right circumstances arise (e.g.: "I feel like playing a game tonight") and when external influence (e.g.: "your friends said they liked our game") is strong enough, that's when a sale happens. I know that Steam and other stores have some forms of discovery tools, but I don't think they play a major factor. What really matters is not a single source, but the slow build-up of good will around a game - eventually this will make a player consider buying it. Discovery tools, such as "you might also like"-adverts, surely help, but they are just part of a much larger process [1].<br />
<br />
Because of this, and considering the sheer number of games that are currently being released, I think the best strategy is to focus on unique experiences. You want to create the type of experience that is not only hard to get elsewhere, but also leaves a mark on those who play it. This is now a core philosophy here at Frictional. I guess we sort of always had it unconsciously, but we have now made it official. Our goal is to create games that are more than forgettable escapism. We want people to come out of their experiences feeling changed. A lofty goal? You bet. While it'll be impossible to make sure every single player has this type of experience, it feels like the perfect thing to strive for.<br />
<br />
Now I will round of this post with a brief discussion on the status of our current projects.<br />
<br />
The first project is in full production, and about 80% of the team is currently working on it. The focus for most of this year has been on creating the first few maps of the game to create a solid vertical slice based on our experiments last year. However, we recently came up with some new avenues that we wanted to explore. The stuff that has come out of this recent detour is feeling really great and I am certain it'll make the game feel very special. All of this came out of what I just discussed: our focus on making games that leaves a mark on the player. I'm not sure we would have gone down this route if we hadn't explicitly stated that goal, which makes me confident it's a really good way of thinking. I'm afraid I can't go into any details on this, other than to say that the project will be horrific in nature. There will be no release this year, but we hope to announce something during the first six months of next year.<br />
<br />
As for the other project, that's also going well. We've been a bit delayed due to new tech taking longer than anticipated to develop [2]. The upside of that has been that the game has had more time in pre-production than any of our previous games. This has been incredibly valuable, as the things we aim to tackle in this game are quite difficult, and allowing it all to brew for a bit has meant many of the basic aspects are clearer for us. This game will be less about direct, visceral horror, and more about the player gaining an understanding of different concepts. This can, as we know from working on SOMA, be quite tricky to get right and requires a slightly different approach than when working on a more direct horror game. Release for this game is quite far off though, so don't expect to hear any concrete details in the near future.<br />
<br />
That's it for this update. I'm incredibly excited about the things that we have planned, and I'm very eager to give you all more updates. I also want to thank everybody for the support over the years, and rest assured that while we might not reply to every single mail, tweet, etc. that you send us, we make sure to read every single one!<br />
<br />
<br />
<b>Notes:</b><br />
1) For games that are heavily based around online communities, such as a <a href="https://en.wikipedia.org/wiki/Rocket_League">Rocket League</a>, I think things work slightly differently. There is still a word-of-mouth zeitgeist going on, but a lot of it comes from your game become a habit for your players, something that they participate in on a daily basis. This forms a feedback loop that helps drives new buyers, which I think is quite different from how our games work.<br />
<br />
2) We are currently working on the fourth iteration of our HPL engine for this game, and due to some of the things we need to be able to do for the game, we've been required to make some major adjustments. These things take time, but luckily we have most of it done now.Thomashttp://www.blogger.com/profile/02945983378935089787noreply@blogger.com51